Journal articles on the topic 'Pacific Peoples tourism'

Adapted to survive in the interface between land and sea, mangroves are highly vulnerable to the impacts of climate change. They are also highly adaptive to the imagination, with the theme of the mangrove being differently signified across texts, languages and communities as a place to find death in the tropics, a nature tourism destination, endangered environment, magical wood, refuge for maroons and revolutionaries, and source of livelihoods. The cultural malleability of mangroves mirrors their natural adaptability. It also echoes the varied and rhizomatic identities and imaginaries of the peoples of the tropical Americas. Relevant cultural texts produced in the region support experimentations with mangroves as a raw material susceptible to being worked in order to explain diverse realities. In order to highlight the relevance and malleability of mangrove ecosystems, this paper explores resignifications of socioecological interactions at the Ecological Mangrove Reserve Cayapas-Mataje in Ecuador through the lens of photographer Felipe Jácome. Jácome’s photographic essay Los Reyes del Manglar [The Kings of the Mangrove] provides rich material to study the rhizomatic evolution of the theme of the mangrove and its entanglements with people’s lives, cultures and histories. I argue that cultural representations of mangroves can go beyond their metaphorical recovery to support environmental justice. This essay is also informed by extant research on the important role of mangrove forests for carbon sequestration and climate change mitigation, which locates these socioecological systems at the centre of people’s struggle for climate justice.

Abstract Nowadays, health tourism has emerged as a multi-billion-dollar industry due to the fact that people have frequently traveled in order to improve their wellbeing. The internationalization of health tourism has also motivated production and consumption of healthcare services as well as increased variety of intermediaries and ancillary goods and services to support this sector. Although the significant benefits of health tourism, its actual contribution to economic growth and related issues have remained ambiguous. Therefore, this paper aims to: (i) Discuss the potential economic aspects of health tourism based on the published figures of major destinations in Asia Pacific with an international focus and (ii) Examine the economic risks related to health tourism that either directly or indirectly harm the process of economic growth. The results indicate that development of health tourism satisfies patients’ demand for high quality healthcare at competitive prices, boosts the value of foreign exchange inflow and expands job opportunities. Health tourism services have become the subject of international earnings which has elevated economic opportunities of potential destinations. Besides that, increasing international health tourist flows with high income could evaluate costs of healthcare services, brain drain of healthcare professionals, inequitable health care access. Additionally, increases in international traveling might produce a new economic burden of communicable diseases, environmental degradation; brokers and organ transplants associated with black-market in some destinations. Hence, sustainability and responsibility have been considered as key criteria in the health tourism industry in order to improve tourists’ health performance and maximize benefits for local communities. Such economic analysis also enables us to evaluate benefits and losses from health tourism development and track the balance of trade around this economic sector.

Carla Manfredi. Robert Louis Stevenson’s Pacific Impressions: Photography and Travel Writing, 1888–1894 (Palgrave Macmillan, 2018), 256 pp., ISBN: 978-3-319-98312-7, €69.99 (hardcover).Richard Ivan Jobs. Backpack Ambassadors: How Youth Travel Integrated Europe (Chicago: University of Chicago Press, 2017) 360pp, ISBN-13: 978-0-226-46203-5, $35.00 (paper).Youngmin Choe. Tourist Distractions: Travelling and Feeling in Transnational Hallyu Cinema (Durham and London: Duke University Press, 2016), xii + 252pp., ISBN-978-0-8223-6130-5, $60.99 (pbk).Valerio Simoni. Tourism and Informal Encounters in Cuba (Oxford; Berghahn, 2016), 282+xvi pp, ISBN 978-1-78533-833-5, $27.95 (paperback).Sabine Marschall. Tourism and Memories of Home: Migrants, Displaced People, Exiles and Diasporic Communities (Bristol: Channel View Publications, 2017), xv + 288 pp., ISBN 13: 978-1-84541-602-7, $49.95 (paperback).

Since the 1940s, the Costalegre, on the Pacific coast of Mexico, has been recognized as having a high potential for tourism. The aim of this paper is to understand tourism governance in a place where past and emergent luxury tourism co-exists with small-scale tourism in a largely rural and ecologically important landscape. We conducted in-depth interviews with 29 different stakeholders and administered a questionnaire survey to 27 tourist establishment owners and employees. We also held a workshop with 11 families from three rural communities and administered another questionnaire to a further 125 people from the same localities. Policy document analysis and participant observation completed the research. We found there to be strong discrepancies between the federal government’s legal framework for tourism development and local views and attributes for action. Owners and new investors in luxury tourism developments are well organized and have the economic and political power to obtain authorization for their projects, even in cases where the projects have received negative assessments from environmental scientists. We discuss how an ineffective local governance mode enables the wealthy part of the private sector to prevail, jeopardizing the construction of a regional strategy that is socially just and takes into account the needs of local residents.

In the mature aviation system of today, it is difficult to establish new hubs that focus solely on transfer traffic. This paper identifies a new type of hub—a natural tourism hub—one at which an airline and the surrounding metropolitan area can simultaneously benefit from a transportation hub and accompanying tourist destination, respectively. The study aims to identify existing airports for these stopover locations that are located on highly trafficked international flight routes. Using Iceland as an example, this country’s success in optimizing its stopover location to promote tourism and gain airline passenger demand is examined. The analysis is carried out by implementing a k-means clustering algorithm on total distance added for stopover locations, as well as flight leg symmetry to identify existing airports that are geographically located in an optimal stopover path for international routes across the Atlantic and Pacific oceans, and between Europe and East Asia. Airports in the clusters that minimize total added distance are then observed, and the clusters are ordered based on how symmetric the two flight legs of a stopover journey at an airport in that cluster tend to be. In addition, three airports near the top of this list are analyzed as potential stopover locations. In using this algorithm, not only is it possible to forecast which hubs may become major tourist destinations, but also to identify how airlines can shape people’s perception of their location as a tourist destination.

<p class="Abstract">In 2007 Bandung was designated as a pilot project for the creative cities of Asia Pacific, and in 2015 Bandung was included in the UNESCO Creative Cities Network. It is related to the development of the city of Bandung and the creativity of the population. Its creativity is formed through a process. This article traces the roots of this creativity since the beginning of its formation in the early 19th century to become the city of Bandung in the early 20th century. The method used is the historical method supported by creative cities’ and voluntary organization’s concepts. Primary sources were official government archives, tourist guidebooks, magazines, and newspapers. The result shows that the roots of the creativity of the Bandung population have been formed since the colonial period, both individually and in groups. Through the synergy between the community and leaders in the city of Bandung, they are incorporated into organizations whose initial goals are for the welfare of the people of Bandung, then develop introducing the city of Bandung for people from outside Bandung in tourism activities. They prepared several infrastructure facilities and built tourism objects for both citizens and tourists.</p>

Located a little over 870 kilometers southwest of Guam is a beautiful small-island state that many people believe to be one of the places least affected by modernization in the Pacific—the island of Yap. Sometimes referred to as "the island of stone money" because of the huge pieces of circular limestone currency that can be found there, Yap is part of the island nation of the Federated States of Micronesia.

An understanding of visitors’ travel desires and experiences are vital in two ways- to adjust destination’s marketing strategies in order to meet the expectation and demand of the travel market and to ensure sustainability of both physical and social attributes of the place. In this sense, this paper evaluated the travel decision and experiences of visitors in the islands of Caramoan considered as one of the Philippines’ uncontaminated and unspoiled natural areas branding it as a “Hidden paradise in the Pacific”. Using a questionnaire-based survey administered to onsite visitors in a descriptive method of research, the islands are visited by tourists due to their desire for nature-based and eco-adventure tour. Their experiences with the destination’s products, services, and hospitality were generally good with emphasis on the accessibility to natural attractions and religious sites, friendliness of the people service providers, suitable weather condition, and organized excursions. With its continued growth, provision of additional nature-based sports activities, and other tourism products and themes should be designed and developed to create diverse recreational participation. In the same way, improving the frontline tourist facilities as well as tourism frontline services is needed to deliver more meaningful visitor experience.

Electronic sports (e-sports) is a competitive online game activity which has been approved as a sport by the Olympic Council of Asia (OCA) since 2017. The great interest of the world community, especially young people in e-sports, has made the industry developed into sports tourism and entertainment with the concept of digital tourism, organized in the form of national and international scale events. The Covid-19 pandemic has hampered various tourist activities, including e-sports events around the world. The design of this research is a qualitative descriptive literature review through case studies of e-sports events associated with the COVID-19 pandemic in Indonesia. The results of the study show that the COVID-19 pandemic followed by a large-scale social restriction has encouraged adaptation in the e-sports industry through the implementation of online e-sports events (streaming) which has an impact on the success of this industry to survive and even grow into a creative industry sub-sector that is proven to be able to thrive during the COVID-19 pandemic. The increase in the market ranking of the Indonesian e-sports industry from 16th in Southeast Asia in 2017 to the largest in Asia Pacific, and even 12th in the world in 2020 has shown the great potential of the e-sports event creative industry to move the wheels of the tourism industry which was on the ground during the COVID-19 pandemic in Indonesia.

The comprehensive overview of Asian-Pacific migration summarizes early population movements during the colonial period and describes the major types of contemporary Asian population movements: (1) environmental refugees, (2) political refugees, (3) internal population movements, (4) contract labor migration, (5) migration of permanent settlers, (6) business related movements and tourism. Projections of net international migration are given. Population growth, employment absorption and emigration pressures are likely to contribute to a large mobility potential for Asia, with significant implications for Australia.

Tourism is an integral part of human life. The sector is growing as it has become a necessity for leisure travelers along with the development of the sociocultures undergoing changes. One of the tourism industries that always increases its growth is the airline industry. As stated in the background above, the author conducted a research on The World's 4 Star Airlines in Asia-Pacific and Southeast Asia. In the study, the author took the title: The Analysis of Sensory Factors in Airline Marketing. The purpose of the study was to obtain results of the confirmatory analysis of the most dominant sensory dimension of marketing The World's 4 Star Airlines at Soekarno-Hatta International Airport. This research was descriptive and verificative, and the method of the research was a descriptive survey and explanatory survey. The samples taken in this study were as many as 100 people from the population of 1.195.596 foreign tourist passengers. The technique of sampling done by the author was a systematic sampling. Data processing was done by using the statistical test through SPSS 20.0 for Windows and AMOS 5. The results showed that the sensory dimension of marketing that was the most dominant was the dimension of sight which was equal to 21:36%. Whereas the most dominant sensory marketing indicator was equal to 10:07%.

Waikīkī is a world-renowned leisure destination; at least, that is the image flung vehemently around the world about Hawaii. This framing of Hawaii as paradisiac is parasitic, it eats away and denigrates the enduring relationship that Hawaii the land and the people have. During the COVID-19 pandemic, we have seen a shift in the way our home feels. Tourism, a self-proclaimed necessity of Hawaii’s economy, was not only put on hold, it was essentially eliminated. Through this project I would like to present pre/post-colonialist modalities of Hawaii, to contest and disarm this space densely affected by militourism. Hawaii has been framed as a leisure destination first by colonialists and much later by hip hop music. My approach to contesting these projections is to refuse this notion and feature lines from songs, chants and prayers related to Waikīkī which are pre/postcolonial and have been influenced by colonialism through hip hop.

This article focuses on the underwater cultural heritage (UCH) located across the Pacific Ocean by sampling three temporal themes: living heritage and traditional indigenous cultural heritage, the global connections of the Manila Galleon trade, and the modern warfare of World War II (WWII). Many of the traditional cultural practices (living heritage) and tangible cultural heritage related to indigenous people of the Pacific are coastal and sea related. Their world encompasses the sea, which was not seen as a barrier as but a much-used connection to people occupying the thousands of islands. The Pacific contains an extensive maritime cultural heritage, including UCH, which reflects the cultural identity of people living in the region. From the 16th to 18th centuries, the Spanish Empire prospered through an elaborate Asia-Pacific trade network. The Manila Galleon trade between Manila, Philippines, and Acapulco, Mexico, connected into the existing Atlantic trade transporting commodities such as porcelain, silver, spices and textiles from Asia to the Americas and Spain. Of the 400 known voyages between 1565 and 1815, approximately 59 shipwrecks occurred, of which only a handful of galleons have been investigated. The scale of WWII heritage in the Pacific region reflects the intensity and impacts of global conflicts fought across the world’s largest ocean. Associated UCH includes near shore defensive infrastructure, landing and amphibious assault craft, submerged aircraft, and a wide range of ships and submarines, auxiliary, combatant and non-military casualties alike. Twentieth century warfare involved massive losses of material. The legacy of submerged battlefields in the Pacific is complex. Interest is high in the discovery of naval UCH, but critical aspects are often intertwined. Archaeology, history, reuse, memorialisation (gravesites), tourism, unexploded ordnance, environmental threat (fuel oil), ownership and salvage all shape what we can learn from this resource.

Background: Pacific Small Island Developing States (SIDS) have health care systems with a limited capacity to deal with pandemics, making them especially vulnerable to the economic and social impacts of the coronavirus (COVID-19). This paper examines the introduction, transmission, and incidence of COVID-19 into Pacific SIDS. Methods: Calculate the rate of transmission (the average number of new cases per day between the first recorded case and the most recent day) and connectivity (daily direct flights to the leading airport in each selected island group) using flight history and COVID-19 transmission data. Results: Correlational analyses show that connectivity is positively related with (a) first-case dates and (b) spread rate in Pacific SIDS. Conclusion: Connectivity plays a central role in the spread of COVID-19 in Pacific SIDS. The continued entry of people was a significant factor for spread within countries. Efforts to prevent transmission by closing borders reduced transmission but also created significant economic hardship because many Pacific SIDS rely heavily on tourism and international exchange. The findings highlight the importance of exploring the possibility that the COVID-19 spread rate may be higher than official figures indicate, and present pathways to mitigate socio-economic impacts. The practical implications of the findings reveal the vulnerability of Pacific SIDS to pandemics and the key role of connectivity in the spread of COVID-19 in the Pacific region.

In the first half of the twentieth century, fish odors created heated conflicts along the Monterey coastline. Few scholars in environmental history, however, have analyzed the significance of olfactory perceptions of the physical environment. This article examines two disputes in which odors became connected to larger power struggles over nature and society. The first conflict involved Chinese fishermen, whose squid-drying fields emitted unpleasant smells that precipitated a campaign to eliminate them. The second conflict emerged when the sardine factories along Cannery Row also created foul odors, prompting real estate developers and tourism-oriented politicians to take legal action. The debates over odors pitted tourism against fisheries and ultimately revealed Montereyans' divergent ideas about the types of people and activities that should shape the Pacific shoreline.

[Introduction]: In Costa Rica, more than 70 % of the public drinking water supply comes from groundwater sources. In the coastal city of Jacó, on the Central Pacific Coast of Costa Rica, tourism activity is essential for economic development and groundwater represents a source for supplying tourists and residents. [Objective]: This research aims to characterize the threats of groundwater contamination to the coastal aquifer of Jacó due to human activities, based on land use analysis, characterization of potential pollution sources and, estimation of the floating population related to tourist activity. [Methodology]: An inventory of potential pollution sources was carried out through the location of human/anthropogenic activities. Potential point, diffuse and linear sources were classified based on the Pollutant Origin Surcharge Hydraulically (POSH) method, as activities with high, medium and low potential generating pollutant load (threat) [Results]: Of the total potential sources, 0.5 % correspond to activities with high potential, 14.0 % medium potential and 23.5 % low potential, and 62.0 % null potential. Out of 129 point pollution sources, 64.3 % were classified as medium threat activities due to the storage and handling of potentially polluting chemicals. Although the sources of high threat are those of lesser occurrence in the study area, they can generate greater negative impacts on groundwater resources. These are located mainly in the urban area of the city where the floating population reaches more than 12 000 people during the holidays, so their potential for pollutant loading could rise during this period. [Conclusions]: The results will be considered in territory planning, which seeks to reduce the probability of groundwater contamination in Jacó.

Since the 1990s, the Asia-Pacific region’s world market share of international travelers has increased, as America’s and Europe’s shares have fallen. China (People’s Republic of China) has become the world’s biggest tourism source market with an overseas spend of US$292 billion in 2015, fueling opportunities for the region and beyond. Now, Asia Pacific outbound travel is extending past short-haul interregional travel to long-haul destinations, specifically Europe. To realize this potential, European destinations need a better understanding of the Chinese traveler; their perceptions of destinations, awareness, and loyalty. This study measures the brand equity of Switzerland and Austria as perceived by Hong Kong Chinese tourists. Structural equation modeling results indicate that destination brand image and associations significantly impact brand loyalty, whereas destination awareness does not, contrary to past interregional research findings. Understanding the influence of brand components on overall brand equity supports the efficacy of the brand equity model for interregional destinations.

Chris Ballard, Paula Brown, R. Michael Bourke, Tracy Harwood (eds); The sweet potato in Oceania; A reappraisal (Peter Boomgaard) Caroline Hughes; The political economy of Cambodia’s transition, 1991-2001 (Han Ten Brummelhuis) Richard Robison, Vedi Hadiz; Reorganising power in Indonesia; The politics of oligarchy in an age of markets (Marleen Dieleman) Michael W. Charney; Southeast Asian warfare, 1300-1900 (Hans Hägerdal) Daniel Perret, Amara Srisuchat, Sombun Thanasuk (eds); Études sur l´histoire du sultanat de Patani (Mary Somers Heidhues) Joel Robbins; Becoming sinners; Christianity and moral torment in a Papua New Guinea society (Menno Hekker) Mujiburrahman; Feeling threatened; Muslim-Christian relations in Indonesia’s New Order (Gerry van Klinken) Marie-Odette Scalliet; De Collectie-Galestin in de Leidse Universiteitsbibliotheek (Dick van der Meij) James Neil Sneddon; Colloquial Jakartan Indonesian (Don van Minde) James Leach; Creative land; Place and procreation on the Rai coast of Papua New Guinea (Dianne van Oosterhout) Stanley J. Ulijaszek (ed.); Population, reproduction and fertility in Melanesia (Dianne van Oosterhout) Angela Hobart; Healing performances of Bali; Between darkness and light (Nathan Porath) Leo Suryadinata (ed.); Admiral Zheng He and Southeast Asia (Roderich Ptak) Ruth Barnes; Ostindonesien im 20. Jahrhundert; Auf den Spuren der Sammlung Ernst Vatter (Reimar Schefold) Marie-Antoinette Willemsen; Een missionarisleven in brieven; Willem van Bekkum, Indië 1936-1998 (Karel Steenbrink) Marie-Antoinette Willemsen; Een pionier op Flores; Jilis Verheijen (1908-1997), missionaris en onderzoeker (Karel Steenbrink) Akitoshi Shimizu, Jan van Bremen (eds); Wartime Japanese anthropology in Asia and the Pacific (Fridus Steijlen) Lilie Roosman; Phonetic experiments on the word and sentence prosody of Betawi Malay and Toba Batak (Uri Tadmor) Jamie D. Saul; The Naga of Burma; Their festivals, customs, and way of life (Nicholas Tapp) K.S. Nathan, Mohammad Hashim Kamali (eds); Islam in Southeast Asia; Political, social and strategic challenges for the 21st century (Bryan S. Turner) Andrew Pawley, Robert Attenborough, Jack Golson, Robin Hide (eds); Papuan pasts; Cultural, linguistic and biological histories of Papuan-speaking peoples (Lourens de Vries) Leo Howe, The changing world of Bali; Religion, society and tourism (Carol Warren) Sarah Weiss; Listening to an earlier Java; Aesthetics, gender, and the music of wayang in Central Java (Andrew N. Weintraub) REVIEW ESSAY Terry Crowley: Four grammars of Malakula languages Crowley, Terry (ed. by John Lynch); The Avava language of Central Malakula (Vanuatu) Crowley, Terry (ed. by John Lynch); Tape: a declining language of Malakula (Vanuatu Crowley, Terry (ed. by John Lynch); Naman: a vanishing language of Malakula (Vanuatu) Crowley, Terry (ed. by John Lynch); Nese: a diminishing speech variety of Northwest Malakula (Vanuatu) (Alexandre Francois) REVIEW ESSAY -- ‘The folly our descendants are least likely to forgive us’: the end of nature in Southeast Asia? Michael R. Dove, Percy E. Sajise, Amity A. Doolittle (eds); Conserving nature in culture; Case studies from Southeast Asia Jeyamalar Kathirithamby-Wells; Nature and nation; Forests and development in peninsular Malaysia Celia Lowe; Wild profusion; Biodiversity conservation in an Indonesian archipelago John F. McCarthy; The fourth circle; A political ecology of Sumatra’s rainforest frontier Budy P. Resosudarmo (ed.); The politics and economics of Indonesia’s natural resources Jeffrey R. Vincent, Rozali Mohamed Ali; Managing natural wealth; Environment and development in Malaysia (David Henley) In: Bijdragen tot de Taal-, Land- en Volkenkunde no. 163 (2007), no: 2/3, Leiden

Purpose – This paper aims to situate tourism within the wider context of temporary and permanent people movements and immigration as a form of permanent tourism with a deep gaze into tourists’ own national culture and even deeper gaze into the trappings of immigrants’ quotidian identity to define a modified identity. This paper offers, through auto-ethnography (AE) and confirmatory introspection (CI), a glimpse into the complex decision-making processes tourists, migrant workers and immigrants have to cope with to survive and thrive in a home “away” from their country of birth. The literature on the comparison between temporary mobility (tourism), nomadic migration (semi-permanent mobility) and permanent mobility (drifters, wanderers or denizen globe trotters) is sparse and unsystematic. Design/methodology/approach – The use of AE and CI allows the researcher with several years of cognitive and affective information and easy access to data on the private, lived experiences of the author and closely related family. Having lived and worked in several countries, supplemented by experiences of visiting over 35 countries for varying periods, the researcher has direct access to a wealth of rich data related to tourism (one- to five-week trips to Europe, USA, South America, the Middle East, Africa, Australia and the Pacific Islands), semi-permanent mobility (one-year exchange work placement in North America) and permanent mobility (more than ten years of being immigrants to New Zealand). Findings – The results show that tourists and immigrants are exposed to numerous decisions (varying in complexity and impact) before, during and after their travels that will impact on their acculturation, the genuineness of their experience and their willingness to modify their own identities, as well as the culture of the destinations they consume. Travelers have to overcome contextual and personal hurdles to achieve integration in a reasonable time. The way in which they tackle and overcome these hurdles will impact upon their modification of personal identity and acculturation. Practical implications – This paper offers practical advice to tourists, immigrants and employers on becoming adaptable consumers, highly resilient survivors and highly reliable organizations – able to thrive in today’s global marketplace. This study helps marketers, tourism professionals and employers of migrants to understand the processes consumers go through to modify identity to effectively and timely fit into new environments. Originality/value – AE- and CI-based research explores the tourist gaze and acculturation processes and discusses a two-directional model of modification of culture and identity. In addition, the paper highlights complex decision-making models tourists, nomads, globe trotters and immigrants use when considering alternative destinations and sought-after experiences.

Background and Goals The Battle of Biak that took place in 1944 between the United States Army and the Japanese Army left the area of Biak in the Province of Papua with abundant remnants of war. Some years after the battle, the area became an international destination for war tourism with visitors especially originated from Japan. Tourists normally visited the battle zone for pilgrimage purposes and commemoration of the loved ones losing their lives in the battle. As time went by, Biak war tourism started to decline as pilgrimage trips to the area became rare. Special measurements should be made to help revitalize this historical zone. Methods An exploratory study on Biak’s war tourism has been undertaken using a qualitative method which focused on ethnographic approach. The study adopted a perspective that tried to find out the underlying potentials of Biak’s war tourism which offered the historical battle fields in the war zone. In the study, some observations were made which includes mapping of battle fields, and bulks of war remnants—both secured and taken care of or left in situ. The researcher also made some in-depth interviews with the Japanese pilgrims to identify the motives of their visit, and with some local people which serve as curators, caretakers, or keepers of war remnant and descendants of local people who inherit the historical stories of what happened in the area. Expected Results/ Conclusion/ Contribution The result of the study suggested that the flow of Japanese pilgrim visits to Biak were unable to assure sustainable visit in terms of war tourism. That’s because the pilgrims were people who had close connection and was associated with the soldiers killed in the battle zone. They certainly had a deep intention of visiting the battle zone for sentimental reasons, and coupled with the wish to perform cultural ritual for respecting their beloved ancestor. As time passed, the descendants of the war casualties aged themselves and their younger generation does not have the same sentimental feeling with their elders towards the casualties of Biak War and therefore they had lower interest in making the pilgrimage to the battle zone and this led to a drastic decline of the battle zone visits. Meanwhile, potential tourists not associated with the war or the war zone do not come in a significantly big number. Yet, Biak still has the potentials to develop the tourism with a different approach and more aggressive marketing efforts which can grow potential travellers’ interest in tourism in general and Biak’s war tourism in particular. Both tangible (such as war remnants) and intangible (such as the rituals, festival, history) cultural heritages of the war zone can be smartly developed along with development of thanatourism and dark tourism naturally invented from the said historical war zone. Above all, owing to the special geographical location, Biak can be developed into a Pacific War Trail.

Abstract This essay focuses on the creation story of the Indigenous Chamorro people from the western Pacific Island of Guam. The essay presents and analyzes the deeper meaning of the story of Puntan and Fu’una as they birth the island of Guam and the Chamorro people. Moreover, it maps the history of Catholic missionization that displaced and replaced the Chamorro creation story. The essay covers the related issue of how colonization removed Chamorros from their ancestral lands and appropriated these lands for imperial, military, tourism, and urban development. Then it highlights the decades-long struggle of Chamorro activists to reclaim the land. Lastly, it turns to contemporary Chamorro poetry to illustrate how authors have revitalized and retold the story of Puntan and Fu’una to critique and protest the degradation of Chamorro lands and to advocate for the protection and return of the land.

This paper measures economic integration in the Asia-Pacific (AP) region using a composite index. The weights of the index are obtained from a two-stage principal component analysis. In the first stage, we obtain a convergence index to measure the extent of convergence among the main macroeconomic indicators of a sample of AP economies. In the second stage, we use indicators of trade, FDI, and tourism, as well as the convergence index, to compute the weights for the composite index. We found that economic convergence in the AP region increased until 1998 but has since fallen back. The integration of trade, investment, and people flows increased between 1990 and 2000, weakened slightly to 2003, and has since picked up again. Among the 17 sample economies, Singapore, Hong Kong, and Chinese Taipei are the most integrated with the AP region and Indonesia and China are the least integrated.

According to a report by UNWTO 'Asia and the pacific region' is considered as the core of the world's religious tourism as half of the world's religious voyages take place in this region only. In this context the 'Great India temples' play a major role in attracting crores of pilgrims along with the tourists of varied interests. These tourists exhibit different types of behaviour during their travel. As the behaviour is largely dependent upon the tourists' nature (belief, trust, motivation), place of residence, state, age, education etc, hence analyzing the same will help the Destination Management Organisations (DMOs) for 'planning, development and marketing' of its products and services in a better way. The current research intends to find out the demographic profile of the tourists visiting Jagannath Dham, Puri (India) and analyse the 'socio-religious behaviour' of the tourists from their demographic characteristics to provide suggestive measures for the development of the destination. The responses from the tourists (404) were collected through a structured questionnaire via convenience sampling. Initially, the demographic profile was analysed through percentage analysis and later the behavioural analysis was carried out by testing the instrument's reliability through (α), and the sample's adequacy via KMO & Bartlett's test. Later the factors were reduced via PCA and analysed through Levene's test, ANOVA & Post-Hoc tests. From the analysis, it was observed that behavioural characteristics are significantly associated only with the 'state of the residence' and 'nature of residence' of the travelers. Whereas other demographic factors like age, education, gender, and marital status are not significantly affecting the tourist behaviour. The results revealed that people from 'all age groups' show a very little dependency on the temple staff but 'moderate to high interest' in local culture. While metropolitan tourists don't show much desire in partaking Mahaprashada (the religious food offering of the temple), the rural people are less 'adhering to rituals' in comparison to the metropolitan and semi-urban tourists. Apart from this, there were few other revelations based on which suggestions have been given which were if implemented will certainly result in attracting more number of tourist to the destination.

Pacific Island Countries (Kiribati, Fiji, Samoa, and many others) rely on fisheries and agricultural systems for their livelihood and economic development. However, the COVID-19 scenario has led to vast degradation in the agriculture supply, economy, and food security system, resulting in poverty, an increase of unemployment percentage, and a decrease in the tourism industry. The policies related to COVID-19 restrictions, such as lockdowns, access to markets and social distancing, has caused a high reduction in the income of many households. Food purchasing from vendor markets and supermarkets has decreased rapidly due to its prices. Several individuals cannot afford to buy the food items, leading to lower food supply within and outside the country. In addition, several people have been moving to rural areas due to Unemployment. They have started to perform backyard gardening small-scale farming, which again results in lower production of commercial farmers and loss of food supply to consumers. Not only Fiji, but the whole world is experiencing the same situations, which have led to the Government making innovative actions against this deadly virus to protect the citizens from this pandemic. FNPF withdrawals, farming packages, and other initiatives indulged by the Government of Fiji and other Pacific Countries are being discussed in this review. Countries have examined the effects of the Coronavirus on the agricultural system and food supply chain in Fiji and other Pacific nations.

i te kore nga putake e mākukungia e kore te rakau e tupu ('If the roots of the tree are not watered the tree will never grow') New Zealand is in the middle of the most dramatic and sustained boom in tourism and hospitality in its history. The hotel sector that underpins our tourism growth stands utterly transformed from its humble beginnings. Yet the history of the Tourist Hotel Corporation (THC) and its role as the ‘roots’ of the modern hotel industry still tends to be told only as a minor part of our wider tourism story. Recent PhD research [1], based on extensive archive sources and interviews with senior practitioners, argues that the time has come for the THC story to be told in full. While there have been histories of the tourism and hospitality sector that cover the THC [2–7], they have not included in-depth discussion of the origins, structure and legacies of the organisation. Established in 1955 and sold in 1991, the THC dominated the New Zealand tourist hotel sector for 35 years, running around 10 resort-style properties and setting the standard for service. However, the current dominance of neo-liberal ideology has resulted in the achievements of the Government-owned THC being somewhat dismissed and the role of massive Government investment in the development of our hotel sector often being ‘conveniently’ forgotten. It is common for the THC to be depicted as rather archaic. Burdened with political interference and gross underfunding, the THC is sometimes depicted as a prime example of what happens when the state tries to run a business. However, this research argues there is a more heroic telling of the THC story, one that celebrates the THC as the fundamental ‘roots’ of the modern hotel sector. The THC was a key player in transforming post-war New Zealand hospitality, raising the bar for service, food and beverage and accommodation significantly. The THC invested heavily in improving buildings, vehicles, equipment and machinery, developing the skills and careers of its staff, and innovating menus. Staff from the THC were seen as ‘A grade’ and many of today’s most successful General Managers learnt their trade in THC properties. Many THC staff also went on to set up influential restaurants outside of hotels during this period. The THC managed significant tourism development even while showing a profit from 1974 till the late 1980s, posting a 2.7 million dollar surplus in 1986. However, a combination of perceived indebtedness, the 1987 recession and free-market Government ideology resulted in the sale of the THC to the Southern Pacific Hotel Corporation in 1991. The story of the THC involves drama, intrigue, politics, high finance, rapid growth and equally rapid collapse. But most importantly, this is the story of the origins of our hotel industry, showing the huge contribution this state funded group made to the modern industry. Surely it is time this story was told in full, on its own terms and in glorious technicolour. If you would like to read the PhD thesis this research is based on you can access it here: https://aut.researchgateway.ac.nz/handle/10292/10412 Corresponding author David is Senior Lecturer at the School of Hospitality and Tourism, Auckland University of Technology. He spent 18 years working in the hospitality industry as a hotel manager and restaurateur. His research includes work, employment and labour market issues in hospitality and tourism. David completed his PhD in 2017 – a history of employment relations in the New Zealand hotel sector, 1955–2000. David Williamson can be contacted at: david.williamson@aut.ac.nz References (1) Williamson, D. In Search of Consensus: A History of Employment Relations in the New Zealand Hotel Sector – 1955 to 2000; Ph.D. Thesis, Auckland University of Technology, 2017. (2) Brien, A. 100 Years of Hospitality in New Zealand: The People, the Politics, the Passion; Wellington Museums Trust in association with the Hospitality Association of NZ: Wellington, New Zealand, 2003. (3) McClure, M. The Wonder Country: Making New Zealand Tourism; Auckland University Press: Auckland, New Zealand, 2004. (4) Medlik, S. The Business of Hotels, 4th ed.; Butterworth-Heinemann: Oxford, U.K., 2000. (5) Slattery, P. The Economic Ascent of the Hotel Business; Goodfellow Publishers: Oxford, U.K., 2009. (6) Watkins, L. Billion Dollar Miracle: The Authentic Story of the Birth and Amazing Growth of the Tourism Industry in New Zealand; Travel Agents Association of New Zealand: Auckland, New Zealand, 1987. (7) Yu, L. The International Hospitality Business: Management and Operations; Haworth Press: New York, 1999.

Sexual harassment is prevalent in the hospitality industry with studies indicating that hospitality employees experience sexual harassment significantly more than employees in other industries. Studies also reveal that customers are generally the main perpetrators [1]. Like the Western world, tourism in the South Pacific has seen significant growth and is now the largest and fastest growing sector in the region [2]. However, despite tourism being the key economic driver for many Pacific Island countries, the prevalence of sexual harassment in this location is unknown. This study was conducted in the Cook Islands and investigated the sexual harassment experiences of hospitality employees, by customers. A qualitative approach was adopted involving in-depth interviews with 32 participants from across the industry. The study revealed a significant lack of awareness of sexual harassment and, given the lack of research attention in this region, it is anticipated that this problem is prevalent across the Pacific. Consistent with previous studies [3], alcohol was considered to have the greatest influence on customer behaviour. Supporting Hayner’s [4] ‘moral holiday’ perspective, employees were of the view that visitors behaved inappropriately simply because they were away from home and had a sense of anonymity. A key outcome of the study were the new themes that emerged on ‘cause’, which were unique to the study and its location. The commodification of Cook Islands culture, in particular, the sexualisation of traditional dance and costumes, was perceived to reduce the sexual inhibitions of visitors. A lack of awareness around cultural norms, the hospitable nature of Cook Islanders and titillating marketing messages were also perceived to inadvertently influence visitor behaviour. The ramifications of sexual harassment are serious and cannot be ignored by hospitality employers and managers. The study found that employees experienced a decline in their work performance, productivity, and overall job satisfaction. These outcomes are detrimental not only to individuals, but also to organisations, as they can increase costs and impact the bottom line [5]. Of particular concern, the study found that employees were leaving the industry because of sexual harassment. In light of the current labour market pressures in the Cook Islands tourism industry [6], the implications of this are grave. The research identifies a vital need for education and training with a focus on sexual harassment awareness, cultural awareness, body language and socials skills. The implementation of workplace policies and procedures on sexual harassment is also recommended. Implementing practical strategies at an operational level may also be beneficial for managers and owners. Bystander intervention is an effective approach and involves removing the harassed employee and replacing them with a colleague, before the situation escalates. Implementing host responsibility programmes to educate employees on the responsible sale and supply of alcohol is also recommended. Paramount to addressing the issue of sexual harassment, however, is a clear and visible commitment from management. Employers have an ethical responsibility to create a safe working environment for their employees. Our people are our greatest tourism asset. We need to protect them to ensure a sustainable tourism industry, both in the Pacific and elsewhere. Corresponding author Lisa Sadaraka can be contacted at lisa.sadaraka@aut.ac.nz References (1) Gettman, H. J.; Gelfand, M. J. When the Customer Shouldn’t be King: Antecedents and Consequences of Sexual Harassment by Clients and Customers. Journal of Applied Psychology 2007, 92(3), 757–770. https://doi.org/10.1037/0021-9010.92.3.757 (2) The World Bank. Tourism, 2016. http://pubdocs.worldbank.org/en/95491462763645997/WB-PP-Tourism.pdf (accessed Jun 7, 2018). (3) Yagil, D. When the Customer is Wrong: A Review of Research on Aggression and Sexual Harassment in Service Encounters. Aggression and Violent Behavior 2008, 13(2), 141–152. https://doi.org/10.1016/j.avb.2008.03.002 (4) Hayner, N. S. Hotel Life and Personality. American Journal of Sociology 1928, 33(5), 784–795. (5) Ineson, E. M.; Yap, M. H. T.; Whiting, G. Sexual Discrimination and Harassment in the Hospitality Industry. International Journal of Hospitality Management 2013, 35, 1–9. https://doi.org/10.1016/j.ijhm.2013.04.012 (6) Sugden, C.; Bosworth, M.; Chung, M.; Tuara, A. Cook Islands 2008 Social and Economic Report: Equity in Development, 2008. https://www.adb.org/sites/default/files/publication/29732/cook-islands-economic-report-2008.pdf (accessed Jun 7, 2018).

Engineers and artists have teamed to create combinations of fire and water that have dazzled people at tourist attractions, festivals, and the Olympic Games. At the University of the Pacific in Stockton, California, mechanical engineering professor Ed Pejack and student Eric Eubanks designed a small-scale fountain for educational and demonstration purposes, adapting parts used in irrigation and a camping fuel can. Alan Robinson and Mark Fuller invented a fountain that illuminates water jets with colored flames. Kiki Pettit, a computer programmer, has designed, built, and installed water fountains that incorporate liquid fuel to produce floating flames that flow with water. The water in the Olympic cauldron serves functional and esthetic purposes. The water film flowing down the glass creates random wave patterns that ripple the image of the fire inside. A computer system controls the water flow rate based on temperature of the return water.

Abstract Beginning in the mid-nineteenth century, many young people emigrated from Guangdong to the American West in search of a better living, mainly through building the Pacific Railroad and panning for gold in California. Some of these overseas Chinese who eventually accumulated wealth sent remittances back to their hometowns to provide their families with a better life, or they built mansions for their own retirement. They also used their wealth to renovate ancestral halls, establish schools, get involved in local politics and issues of local public security, public hygiene, etc. The overseas Chinese were one of the important new rising social strata in modern China before the 1960s. This paper will focus on translocal Chinese cultural heritage in Guangdong and try to discuss how people memorize, narrate, preserve, and represent their migration history in these hometowns. Meanwhile, the meaning of the tangible cultural heritage as a landscape of memories in local society in China will also be discussed. Firstly, I think that there are three types of overseas Chinese memories: the memory of suffering, the memory of making fortunes, and the memory of a philanthropic image; secondly, I will deal with the narrative and representation of the collective memories since the 1990s and check how the collective memory became the cultural heritage beneath the state’s discourse; and finally, I will analyze how the overseas Chinese cultural heritage became resources for cultural tourism and local economic development, and show a process of commercialization of those landscapes.

In Arequipa, Peru’s second largest city, engineers work hard to control water flows and provide different sectors with clean and sufficient water. In 2011, only 10 percent of the totality of water used daily by Arequipa’s then close to 1 million people—in households, tourism, industry, and mining—was treated before it was returned to the river where it continues its flow downstream towards cultivated fields and, finally, into the Pacific Ocean. It takes specialized knowledge and manifold technologies to manage water and sustain life in Arequipa, and engineers are central actors for making water flow. Examining the ecology of water management, this article asks to what extent we can talk of a way of knowing and enacting water that is particular to engineers. Through engineering practices, a technical domain emerges as separate from and superior to political and social domains. This production of categories can be understood as practices of purification. However, a purely technical grip on water is never possible. Unruly elements, like weather, contamination, urban dwellers, and competing interests, interfere and make processes of intervention unstable. Water is never completely cleaned, and, equally, the continuous processes of purification of categories and domains take place while other processes work to blur their boundaries.

The Solomon Islands is situated in the South Pacific Ocean and is a low-income country. It comprises nearly 1000 islands with a total land area of 304 000 km2 spread over a sea area of about 1 500 000 km2, making communications, travel and service delivery difficult and creating inequities in access. The population of the Solomon Islands was estimated to be just over 580 000 in 2008, and is young, with 42% aged under 15 years (Solomon Islands Ministry of Health, 2006). The majority of the people are Melanesian (93%) and 98% of the population belong to a Christian church. The population is, though, extremely diverse, with 91 indigenous languages and dialects being spoken, in addition to the Solomon Islands pijin (the most common language) and English (the official national language). Over 83% of the population live in rural areas, where subsistence agriculture, fishing and food gathering are the main sources of income. There is no substantial tourist industry. The gross domestic product (GDP) is US$1.5 billion and annual per capita income is approximately US$2800 (International Monetary Fund, 2009). Total expenditure on health represented 5.6% of GDP but only 1% of the total health budget is allocated to mental health (World Health Organization, 2005).

HIV/AIDS threatens international health on a scale never before seen in human history. Previous plagues and great epidemics, devastating though they were to imperial China, urbanizing Europe, and the colonizing Americas (McNeill 1998), were regionally contained. More than forty million people worldwide are HIV-positive: about half of them live in sub-Saharan Africa, where it apparently originated and where whole tribes and, indeed, most of the adult population of Botswana may very well die of the disease. (Joint UN/WHO 2004). India has another five million people who are HIV-positive, the largest number outside Africa. AIDS is spreading rapidly in China and devastating Thailand, a regional center for prostitution that spreads it further throughout the Asia-Pacific region. No part of the world is spared. The economic, social, and political impacts of this pandemic have only begun to be felt and to be considered.Modern technological and organizational capacities—jet aircraft and globetrotting business and tourist travelers—turned what would have been, in previous eras, an African regional problem into an international crisis and made AIDS exceedingly difficult to contain. Yet, the human technological and organizational capacity to confront the AIDS pandemic also makes this health crisis different from epidemics in earlier times. Medical science applied by pharmacological research has created drug therapies that can control the disease, that can not only stave off death but make productive life possible for many years. The challenge of AIDS could be met, many in the health community say, if it were not that the life-sustaining drugs are owned by private enterprises (Oxfam 2002). The doctors at Médicins Sans Frontières contend, “Patents are not god-given rights. They are tools invented to benefit society as a whole, not to line the pockets of a handful of multinational pharmaceutical companies” (MSF 2003: 2). “[T]he patent monopoly means that a higher price than necessary has to be paid for patented inventions. This is acceptable if this higher price is merely an inconvenience…. However, if the patented invention is essential (say, if it could prevent your untimely death from disease), then the price is more of a dilemma” (MSF 2003: 5). These and other critics declare that drug makers put profits ahead of people and accuse the governments that grant them patent-intellectual property rights, especially the U.S. government, of contributing to this moral bankruptcy.

An educated workforce armed with sustainability-savvy worldviews, competencies and actions to counter our industry’s waste output and resource use are assets for future businesses poised to respond to the sustainability call. The newcomer workforce released into industry every year offer hope, and a space to intervene and inject change. This article reports findings on a study designed to acquire the knowledge needed to inspire sustainability consciousness in staff and students at a hospitality and tourism tertiary education facility. It was encouraging to discover that the people who chose to participate in the study possessed promising skills valuable in the move towards sustainability. This article reports on Phase 1 of a three-phase study with the final goal of imbedding sustainability practice and consciousness into the tertiary education research site. The study responds to the industry’s lack of sustainability education and the workplace demand for this knowledge [1]. Frameworks to help progress sustainable change require settings in which to test and refine their design and worth; places of education have been recommended [2]. Phase 1 responds to research recommendations (e.g. [3]) and considers an individual’s sustainability-focused worldview, competency level and self-reported actions. As such, a questionnaire was tailored to identify a snapshot of the research participants’ ideas and actions around sustainability. The findings provide information to help prepare the design of Phase 2 and to plan for change. The findings detail four themes that divide the respondents into four groups according to the traits they exhibited. The range of skill sets now identified can be tapped into, enhanced, encouraged and stimulated in the next two phases. Theme 1 participants are value-laden and action-orientated collaborators who envision the future based on a reasonable knowledge base. They subscribe to intergenerational equity, understand cause and effect and will act in accord with an internal locus of control. These individuals have the capacity to reflect, process ideas and offer solutions. They offer promise as leaders and knowledge sharers. Theme 2 individuals want to be involved, find solutions, and aspire to be part of a progressive sustainability group. Although they showcase unexpected and at times undeveloped thought processing in the face of sustainability-related issues, they are eager, outside-the-box thinkers. Armed with accurate knowledge, Theme 2’s people will generate buy-in amongst peers with their enthusiasm. The people that make up Theme 3 respond to influence and stimulus; they can be led and will likely follow. Given the right information, tools and inspiration they represent a good-sized group that may buy-in to positive change. The findings indicate they can make the transition towards sustainability thinking if supported with some well-formed narratives and resources. Theme 4 is represented by people who appear disinterested in sustainability. They exhibit an external locus of control and do not contribute beyond the bare minimum. The follow-up research project (Phase 2) will be created to ignite buy-in among this group, and to inspire and educate them, in order to foster them as better informed and active individuals. The research team now have a reference point from which to move to Phase 2. The focus groups in Phase 2 will include the participants from Phase 1. The purpose will be to engage the people involved, inform them of Phase 1 findings, and encourage them to offer ideas for crafting a pathway towards sustainability uptake at the research site. Previous research tells us that engaging people to inspire buy-in and providing a space where they become the key players in crafting a new way forward are key factors in a move towards a sustainability-centric future [4]. Critically, the student participants will then enter the hospitality and tourism workforce armed with a sustainability consciousness that can instigate positive change. Corresponding author Maree Stansfield can be contacted at: reestansfield@nzschooloftourism.co.nz References (1) Sloan, P.; Legrand, W.; Chen, J. Sustainability in the Hospitality Industry: Principles of Sustainable Operations, 2nd ed.; Routledge: London, 2013. (2) Wiek, A.; Withycombe, L.; Redman, C. L. Key Competencies in Sustainability: A Reference Framework for Academic Program Development. Sustainability Science 2011, 6 (2), 203–218. https://doi.org/10.1007/s11625-011-0132-6 (3) Dunlap, R. E.; Van Liere, K. D. The ‘New Environmental Paradigm’. The Journal of Environmental Education 1978, 9 (4), 10–19. (4) Shephard, K. Researching Higher Education for Sustainable Development: Plan A, Plan B and Moving Beyond Thought-Limiting Clichés. In Sustainable Development Research in the Asia-Pacific Region: Education, Cities, Infrastructure and Buildings; Leal Filho, W., Rogers, J., Iyer-Raniga, U., Eds.; Springer International: Cham, Switzerland, 2018, pp 17–30. https://doi.org/10.1007/978-3-319-73293-0

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-Leonard Y. Andaya, Michel Jacq-Hergoualc'h, The Malay Peninsula; Crossroads of the maritime silk road (100 BC-1300 AD). [Translated by Victoria Hobson.] Leiden: Brill, 2002, xxxv + 607 pp. [Handbook of oriental studies, 13. -Greg Bankoff, Resil B. Mojares, The war against the Americans; Resistance and collaboration in Cebu 1899-1906. Quezon city: Ateneo de Manila University, 1999, 250 pp. -R.H. Barnes, Andrea Katalin Molnar, Grandchildren of the Ga'e ancestors; Social organization and cosmology among the Hoga Sara of Flores. Leiden: KITLV Press, 2000, xii + 306 pp. [Verhandeling 185.] -Peter Boomgaard, Emmanuel Vigneron, Le territoire et la santé; La transition sanitaire en Polynésie francaise. Paris: CNRS Éditions, 1999, 281 pp. [Espaces et milieux.] -Clara Brakel-Papenhuyzen, Raechelle Rubinstein, Beyond the realm of the senses; The Balinese ritual of kekawin composition. Leiden: KITLV Press, 2000, xv + 293 pp. [Verhandelingen 181.] -Ian Caldwell, O.W. 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The production and vending of handicrafts by the indigenous peoples of cruise destinations inthe Pacific region has unrealised potential. Handicraft sector development strategies areconstrained by the limited information guiding what products to produce, which productattributes are important, and appropriate pricing for the cruise tourism market. Using structuredinterviews, we evaluate cruise passenger preferences and intended purchase behaviour towardsa range of mabé pearl and mother-of-pearl (MoP) handicrafts. Our study is conducted in anewly-emergent cruise destination, Papua New Guinea, where cruise passenger demand forhandicrafts, purchased as souvenirs, goes largely unmet. The majority of cruise passengersexpressed both interest and willingness in purchasing mabé pearl and MoP handicrafts, thoughpreferences were found to exist for specific products and product attributes. Latent factoranalysis revealed cruise passenger preferences could be summarised by the importance anindividual assigned to a handmade product, a product with accompanying information, or theaesthetic appeal of a product. The importance assigned to these factors was found independentof cruise ship and passenger demographics, but partly explained by purchase intent (i.e.,purchase for self or others). Factoring these results into handicraft development strategies willhelp maximise local economic benefits from pearl industries and cruise tourism in Papua NewGuinea, but also throughout the Pacific region.

The Sustainable Development Goals (SDGs) are a set of 17 interconnected global goals aimed at achieving a better and more sustainable future for all people. Tourism has long been perceived as a passport to development in Pacific Island Countries and Territories (PICTs). As such, tourism development in PICTs, if undertaken sustainably, can contribute to the SDGs. The paper cites examples where tourism can contribute, either directly or indirectly to all 17 SDGs in PICTs. There are numerous examples cited in the literature. But there are questions about how sustainable is the industry as a whole. Despite several excellent instances of how tourism may contribute to the SDGs in the Pacific, tourism’s potential to contribute to the SDGs effectively and meaningfully in the post-COVID-19 future may require further reconsideration. Keywords: Pacific Islands; SDGs; Tourism Development; MGDs; Fiji; Sustainability

Tourism is a key contributor to the economy of the Pacific Island country Vanuatu. Yet many Ni-Vanuatu have seen their access to natural resources lost or reduced as a consequence of foreign investment in the tourism industry and associated land leases, while few community members found secure employment in the tourism sector to compensate for those losses. The tension between externally driven tourism development and local resource access has been exacerbated in the aftermath of 2015 Tropical Cyclone Pam which caused extensive damage both to the tourism industry and local communities. Employing a tourism-disaster-conflict nexus lens and drawing on semi-structured interviews with hotel managers, research conversations with hotel staff and community members, and focus group discussions with community leaders, this study examines how the tourism sector has impacted post-disaster response and recovery, particularly in terms of land relations and rural livelihoods. Findings suggest that tourism can be a double-edged sword for disaster-prone communities. While resorts play an important role as first responders, their contributions to post-disaster recovery processes remain ambiguous and marred by tensions between expatriate investors and indigenous Ni-Vanuatu people. These findings also hold lessons for the tourism crisis triggered by the COVID-19 pandemic in the South Pacific and elsewhere.

Uramba Bahía Málaga Natural National Park is one of the most important places visited by tourists to see humpback whales (Megaptera novaeangliae) in Colombia. Humpback whales arrive from Southern Chile and the Antarctic Peninsula every year between May and December to reproduce, give birth and rear calves. To evaluate the current state of whale-watching in Málaga we analyzed tourist visitation data from 2011 to 2019 during the peak whale-watching season (July–October), and during one week in October 2020. We found that whale-watching activity has increased considerably. In 2019, 21,186 tourists realized whale watching in Málaga. Whale watchers per month increased by 108% and monthly whale-watching boat trips increased by 140%, in the last decade. Currently there are in average 19 boat trips per day (±18.0), and most boats are small (≤15 m). Tourists came mainly from Colombia (90%). August was the most important month for whale watching. Although environmental education activities are undertaken, currently responsible whale-watching guidelines are overlooked. At present, whale-watching activity produces important economic benefits for local people and neighboring sites, with a monthly expenditure of at least $362,409 USD, but to ensure the sustainable continuity of this activity, negative impacts on whales need to be minimized. We classified management challenges into social, economic and biological aspects. From a social perspective, operators should form a whale-watching community association; this would improve cooperation amongst operators, promote good practices in whale-watching and reduce pressure on whales. Economic recommendations include 1) whale-watching trips handled mainly by local people; 2) ticket prices unification; and 3) investment in tourist facilities. Biological recommendations focus on the welfare of whales and include: 1) follow the current whalewatching recommendations strictly; 2) reduce transit speeds to below 10 knots in the area during whale season; 3) use propeller guards; 4) promote land-based whale watching; 5) implement acoustic whale tourism; 6) reinforce environmental education programs; and 7) support long-term monitoring and scientific research. Based on these three aspects, we urge environmental and ethnic authorities, conferring with relevant stakeholders, to determine the whale-watching carrying capacity of the area and to promote a responsible tourism. Authorities need to strengthen the monitoring, oversight and control of this growing tourist activity in order to ensure its long-term persistence.

The emergence of the latest global challenges and threats caused by the COVID-19 pandemic and Ukraine’s military confrontation with the armed aggression of the Russian Federation actualize the problem of destabilization of the tourism and hospitality industry and aggravate the need for post-war reconstruction of the destroyed infrastructure and ensuring the basis for sustainable development of the country. Under such conditions, the development of the tourism and hospitality industry acquires great importance, which can attract additional financial resources, create new jobs, increase the competitiveness of economic entities and enhance the international image of the country. The aim of the study is to justify the theoretical and applied principles and determine the prospects for the development of the tourism and hospitality industry in a globally competitive environment. The study applies general scientific and unique methods of economic analysis, namely: observation and system analysis; historical-logical method; analysis, comparison and synthesis; functional-system approach; graphical and tabular methods; generalization and systematization. Based on the findings of the study, it is established that the tourism and hospitality industry is experiencing a protracted crisis due to the COVID-19 pandemic and armed military conflicts in today’s environment. Significant reductions in tourism flow to Europe and Asia, and the Pacific have been identified, notably France from 86.9 million people in 2019 to 1.2 million in 2022, Spain from 81.8 million people in 2019 to 9.1 million in 2022, Singapore from 0.15 million people in 2020 to 0.54 million in 2022 and Israel from 0.25 million people in 2020 to 0.23 million in 2022. Meanwhile, the share of GDP produced by the tourism and hospitality industry in total global GDP declined from 10.3 % in 2019 to 5.3 % in 2020. In 2021, it slightly increased to 6.1 %, which requires state support for the tourism and hospitality industry and strengthening the competitiveness of economic entities in this sphere.

Around the world, people travel to explore natural beauty, different cultures and social traditions. Much of this involves heritage tourism and this has become an important motivation for international travelers and contributes huge economic benefits to many countries. Besides, it can also bring positive impacts to the society, culture, and environment conservation of the country involved. The Japan Tourism National Promotion Basic Law (2006) states that culture and heritage are “the most important components of Japan tourism” and that Japan will emphasize its abilities to attract more international travelers and support conservation of cultural heritage [1]. However, as a result of the COVID-19 pandemic, Japanese tourism has been damaged significantly and is forecasted to take a long time to recover. The local government shows its concerns about how to reduce the pandemic impacts on the society and economy and encourage international visitors to return. The “new normal” situation requires an insight of the changes in international tourists’ attitudes, traveling behavior and motivations. The experience of Japan could provide a model which other countries in the Asia and Pacific area might study. The research was conducted through in-depth interviews with Japanese government tourism policymakers and a quantitative survey of 211 responses from 43 countries and territories which was conducted from July 2019 to June 2020. From the findings, some recommendations for Japanese tourism innovation are proposed.

IntroductionFestivals, according to Chris Gibson and John Connell, are like “glue”, temporarily sticking together various stakeholders, economic transactions, and networks (9). Australia’s First Nations peoples see festivals as an opportunity to display cultural vitality (Henry 586), and to challenge a history which has rendered them absent (587). The 2017 Australia Council for the Arts Showcasing Creativity report indicates that performing arts by First Nations peoples are under-represented in Australia’s mainstream venues and festivals (1). Large Aboriginal cultural festivals have long thrived in Australia’s northern half, but have been under-developed in the south. Each regional happening develops a cultural landscape connected to a long and intimate relationship with the natural environment.The Far South East coast and mountainous hinterland of New South Wales is rich in pristine landscapes that ground the Yuin and Monaro Nations to Country as the Monaroo Bobberrer Gadu (Peoples of the Mountains and the Sea). This article highlights cross-sector interaction between Koori and mainstream organisations in producing the Giiyong (Guy-Yoong/Welcoming) Festival. This, the first large festival to be held within the Yuin Nation, took place on Aboriginal-owned land at Jigamy, via Eden, on 22 September 2018. Emerging regional artists joined national headline acts, most notably No Fixed Address (one of the earliest Aboriginal bands to break into the Australian mainstream music industry), and hip-hop artist Baker Boy (Danzal Baker, Young Australian of the Year 2019). The festival followed five years of sustained community preparation by South East Arts in association with Grow the Music, Twofold Aboriginal Corporation, the Eden Local Aboriginal Land Council, and its Elders. We offer dual understandings of the Giiyong Festival: the viewpoints of a male Yuin Elder wedded to an Australian woman of European descent. We acknowledge, and rely upon, key information, statistics, and photographs provided by the staff of South East Arts including Andrew Gray (General Manager), Jasmin Williams (Aboriginal Creative and Cultural Engagement Officer and Giiyong Festival Project Manager), and Kate Howarth (Screen Industry Development Officer). We are also grateful to Wiradjuri woman Alison Simpson (Program Manager at Twofold Aboriginal Corporation) for valuable feedback. As community leaders from First Nations and non-First Nations backgrounds, Simpson and Williams complement each other’s talents for empowering Indigenous communities. They plan a 2020 follow-up event on the basis of the huge success of the 2018 festival.The case study is informed by our personal involvement with community. Since the general population barely comprehends the number and diversity of Australia’s Indigenous ‘nations’, the burgeoning Indigenous festival movement encourages First Nations and non-First Nations peoples alike to openly and confidently refer to the places they live in according to Indigenous names, practices, histories, and knowledge. Consequently, in the mental image of a map of the island-continent, the straight lines and names of state borders fade as the colours of the Indigenous ‘Countries’ (represented by David Horton’s wall map of 1996) come to the foreground. We reason that, in terms of ‘regionality,’ the festival’s expressions of “the agency of country” (Slater 141) differ vastly from the centre-periphery structure and logic of the Australian colony. There is no fixed centre to the mutual exchange of knowledge, culture, and experience in Aboriginal Australia. The broader implication of this article is that Indigenous cultural festivals allow First Nations peoples cultures—in moments of time—to assume precedence, that is to ‘stitch’ back together the notion of a continent made up of hundreds of countries, as against the exploitative structure of ‘hub and region’ colonial Australia.Festival Concepts and ContextsHoward Becker observed that cultural production results from an interplay between the person of the artist and a multitude of support personnel whose work is not frequently studied: “It is through this network of cooperation that the art work we eventually see or hear comes to be and continues to be” (1). In assisting arts and culture throughout the Bega Valley, Eurobodalla, and Snowy Monaro, South East Arts delivers positive achievements in the Aboriginal arts and cultural sector. Their outcomes are significant in the light of the dispossession, segregation, and discrimination experienced by Aboriginal Australians. Michael Young, assisted by Indigenous authors Ellen Mundy and Debbie Mundy, recorded how Delegate Reserve residents relocating to the coast were faced with having their lives controlled by a Wallaga Lake Reserve manager or with life on the fringes of the towns in shacks (2–3). But as discovered in the records, “their retention of traditional beliefs, values and customs, reveal that the accommodation they were forced to make with the Europeans did not mean they had surrendered. The proof of this is the persistence of their belief in the value of their culture” (3–4). The goal of the Twofold Aboriginal Corporation is to create an inclusive place where Aboriginal people of the Twofold Bay Region can be proud of their heritage, connect with the local economy, and create a real future for their children. When Simpson told Williams of the Twofold Aboriginal Corporation’s and Eden Local Aboriginal Land Council’s dream of housing a large cultural festival at Jigamy, Williams rigorously consulted local Indigenous organisations to build a shared sense of community ownership of the event. She promoted the festival as “a rare opportunity in our region to learn about Aboriginal culture and have access to a huge program of Aboriginal musicians, dancers, visual artists, authors, academics, storytellers, cooks, poets, creative producers, and films” (McKnight).‘Uncle Ossie’ Cruse of Eden envisaged that the welcoming event would enliven the longstanding caring and sharing ethos of the Yuin-Monaro people. Uncle Ossie was instrumental in establishing Jigamy’s majestic Monaroo Bobberrer Gudu Keeping Place with the Eden Local Aboriginal Land Council in 1994. Built brick by brick by Indigenous workers, it is a centre for the teaching and celebration of Aboriginal culture, and for the preservation of artefacts. It represents the local community's determination to find their own solutions for “bridging the gap” by creating education and employment opportunities. The centre is also the gateway to the Bundian Way, the first Aboriginal pathway to be listed on the NSW State Heritage Register. Festival Lead-Up EventsEden’s Indigenous students learn a revived South Coast language at Primary and Secondary School. In 2015, Uncle Ossie vitally informed their input into The Black Ducks, a hip-hop song filmed in Eden by Desert Pea Media. A notable event boosting Koori musical socialisation was a Giiyong Grow the Music spectacle performed at Jigamy on 28 October 2017. Grow the Music—co-founded by Lizzy Rutten and Emily White—specialises in mentoring Indigenous artists in remote areas using digital recording equipment. Eden Marine High School students co-directed the film Scars as part of a programme of events with South East Arts and the Giiyong Festival 2018. The Eden Place Project and Campbell Page also create links between in- and out-of-school activities. Eden’s Indigenous students thus perform confidently at NAIDOC Week celebrations and at various festivals. Preparation and PersonnelAn early decision was made to allow free entry to the Giiyong Festival in order to attract a maximum number of Indigenous families. The prospect necessitated in-kind support from Twofold Aboriginal Corporation staff. They galvanised over 100 volunteers to enhance the unique features of Jigamy, while Uncle Ossie slashed fields of bushes to prepare copious parking space. The festival site was spatially focused around two large stages dedicated to the memory of two strong supporters of cultural creativity: Aunty Doris Kirby, and Aunty Liddy Stewart (Image 1). Image 1: Uncle Ossie Cruse Welcomes Festival-Goers to Country on the Aunty Liddy Stewart Stage. Image Credit: David Rogers for South East Arts, Reproduction Courtesy of South East Arts.Cultural festivals are peaceful weapons in a continuing ontological political contest (Slater 144). In a panel discussion, Uncle Ossie explained and defended the Makarrata: the call for a First Nations Voice to be enshrined in the Constitution.Williams also contracted artists with a view to capturing the past and present achievements of Aboriginal music. Apart from her brilliant centrepiece acts No Fixed Address and Baker Boy, she attracted Pitjantjatjara singer Frank Yamma (Image 2), Yorta Yorta singer/songwriter Benny Walker, the Central Desert Docker River Band, and Jessie Lloyd’s nostalgic Mission Songs Project. These stellar acts were joined by Wallaga Lake performers Robbie Bundle, Warren Foster, and Alison Walker as well as Nathan Lygon (Eden), Chelsy Atkins (Pambula), Gabadoo (Bermagui), and Drifting Doolgahls (Nowra). Stage presentations were technologically transformed by the live broadcast of acts on large screens surrounding the platforms. Image 2: Singer-Songwriter Frank Yamma Performs at Giiyong Festival 2018. Image Credit: David Rogers for South East Arts, Reproduction Courtesy of South East Arts.Giiyong Music and Dance Music and dance form the staple components of Indigenous festivals: a reflection on the cultural strength of ancient ceremony. Hundreds of Yuin-Monaro people once attended great corroborees on Mumbulla Mountain (Horton 1235), and oral history recorded by Janet Mathews evidences ceremonies at Fishy Flats, Eden, in the 1850s. Today’s highly regarded community musicians and dancers perform the social arrangements of direct communication, sometimes including their children on stage as apprentices. But artists are still negotiating the power structures through which they experience belonging and detachment in the representation of their musical identity.Youth gain positive identities from participating alongside national headline acts—a form of learning that propels talented individuals into performing careers. The One Mob Dreaming Choir of Koori students from three local schools were a popular feature (Image 3), as were Eden Marine student soloists Nikai Stewart, and Nikea Brooks. Grow the Music in particular has enabled these youngsters to exhibit the roots of their culture in a deep and touching way that contributes to their life-long learning and development. Image 3: The One Mob Dreaming Choir, Directed by Corinne Gibbons (L) and Chelsy Atkins (R). Image Credit: David Rogers for South East Arts, Reproduction Courtesy of South East Arts. Brydie-Leigh Bartleet describes how discourses of pride emerge when Indigenous Australian youth participate in hip-hop. At the Giiyong Festival the relationship between musical expression, cultural representation, and political positioning shone through the songs of Baker Boy and Gabadoo (Image 4). Channelling emotions into song, they led young audiences to engage with contemporary themes of Indigeneity. The drones launched above the carpark established a numerical figure close on 6,000 attendees, a third of whom were Indigenous. Extra teenagers arrived in time for Baker Boy’s evening performance (Williams), revealing the typical youthful audience composition associated with the hip-hop craze (Image 5).Image 4: Bermagui Resident Gabadoo Performs Hip-Hop at the Giiyong Festival. Image Credit: David Rogers for South East Arts, Reproduced Courtesy South East Arts.Image 5: A Youthful Audience Enjoys Baker Boy’s Giiyong Festival Performance. Image Credit: David Rogers for South East Arts, Reproduced Courtesy South East Arts.Wallaga Lake’s traditional Gulaga Dancers were joined by Bermagui’s Gadhu Dancers, Eden’s Duurunu Miru Dancers, and Narooma’s Djaadjawan Dancers. Sharon Mason founded Djaadjawan Dancers in 2015. Their cultural practice connects to the environment and Mingagia (Mother Earth). At their festival tent, dancers explained how they gather natural resources from Walbanja Country to hand-make traditional dance outfits, accessories, and craft. They collect nuts, seeds, and bark from the bush, body paint from ancient ochre pits, shells from beaches, and bird feathers from fresh roadkill. Duurunu Miru dancer/didjeriduist Nathan Lygon elaborates on the functions of the Far South East Coast dance performance tradition:Dance provides us with a platform, an opportunity to share our stories, our culture, and our way of being. It demonstrates a beautiful positivity—a feeling of connection, celebration, and inclusion. The community needs it. And our young people need a ‘space’ in which they can grow into the knowledge and practices of their culture. The festival also helped the wider community to learn more about these dimensions. (n.p.)While music and dance were at the heart of the festival, other traditional skills were included, for example the exhibitions mounted inside the Keeping Place featured a large number of visual artists. Traditional bush cooking took place near Lake Pambula, and yarn-ups, poetry, and readings were featured throughout the day. Cultural demonstrations in the Bunaan Ring (the Yuin name for a corroboree circle) included ‘Gum Leaf Playing.’ Robin Ryan explained how the Yuin’s use of cultural elements to entertain settlers (Cameron 79) led to the formation of the Wallaga Lake Gum Leaf Band. As the local custodian of this unique musical practice, Uncle Ossie performed items and conducted a workshop for numerous adults and children. Festival Feedback and Future PlanningThe Giiyong Festival gained huge Indigenous cultural capital. Feedback gleaned from artists, sponsors, supporters, volunteers, and audiences reflected on how—from the moment the day began—the spirit of so many performers and consumers gathered in one place took over. The festival’s success depended on its reception, for as Myers suggests: “It is the audience who create the response to performance and if the right chemistry is achieved the performers react and excel in their presentation” (59). The Bega District News, of 24 September 2018, described the “incredibly beautiful event” (n.p.), while Simpson enthused to the authors:I believe that the amount of people who came through the gates to attend the Giiyong Festival was a testament to the wider need and want for Aboriginal culture. Having almost double the population of Eden attend also highlights that this event was long overdue. (n.p.)Williams reported that the whole festival was “a giant exercise in the breaking down of walls. Some signed contracts for the first time, and all met their contracts professionally. National artists Baker Boy and No Fixed Address now keep in touch with us regularly” (Williams). Williams also expressed her delight that local artists are performing further afield this year, and that an awareness, recognition, and economic impact has been created for Jigamy, the Giiyong Festival, and Eden respectively:We believe that not only celebrating, but elevating these artists and Aboriginal culture, is one of the most important things South East Arts can do for the overall arts sector in the region. This work benefits artists, the economy and cultural tourism of the region. Most importantly it feeds our collective spirit, educates us, and creates a much richer place to live. (Giiyong Festival Report 1)Howarth received 150 responses to her post-event survey. All respondents felt welcome, included, and willing to attend another festival. One commented, “not even one piece of rubbish on the ground.” Vanessa Milton, ABC Open Producer for South East NSW, wrote: “Down to the tiniest detail it was so obvious that you understood the community, the audience, the performers and how to bring everyone together. What a coup to pull off this event, and what a gift to our region” (Giiyong Festival Report 4).The total running cost for the event was $257,533, including $209,606 in government grants from local, state, and federal agencies. Major donor Create NSW Regional Partnerships funded over $100,000, and State Aboriginal Affairs gave $6,000. Key corporate sponsors included Bendigo Bank, Snowy Hydro and Waterway Constructions, Local Land Services Bega, and the Eden Fisherman’s Club. Funding covered artists’ fees, staging, the hiring of toilets, and multiple generators, including delivery costs. South East Arts were satisfied with the funding amount: each time a new donation arrived they were able to invite more performers (Giiyong Festival Report 2; Gray; Williams). South East Arts now need to prove they have the leadership capacity, financial self-sufficiency, and material resources to produce another festival. They are planning 2020 will be similar to 2018, provided Twofold Aboriginal Corporation can provide extra support. Since South East Arts exists to service a wider area of NSW, they envisage that by 2024, they would hand over the festival to Twofold Aboriginal Corporation (Gray; Williams). Forthcoming festivals will not rotate around other venues because the Giiyong concept was developed Indigenously at Jigamy, and “Jigamy has the vibe” (Williams). Uncle Ossie insists that the Yuin-Monaro feel comfortable being connected to Country that once had a traditional campsite on the east side. Evaluation and ConclusionAlthough ostensibly intended for entertainment, large Aboriginal festivals significantly benefit the educational, political, and socio-economic landscape of contemporary Indigenous life. The cultural outpourings and dissemination of knowledges at the 2018 Giiyong Festival testified to the resilience of the Yuin-Monaro people. In contributing to the processes of Reconciliation and Recognition, the event privileged the performing arts as a peaceful—yet powerful truth-telling means—for dealing with the state. Performers representing the cultures of far-flung ancestral lands contributed to the reimagining of a First Nations people’s map representing hundreds of 'Countries.’It would be beneficial for the Far South East region to perpetuate the Giiyong Festival. It energised all those involved. But it took years of preparation and a vast network of cooperating people to create the feeling which made the 2018 festival unique. Uncle Ossie now sees aspects of the old sharing culture of his people springing back to life to mould the quality of life for families. Furthermore, the popular arts cultures are enhancing the quality of life for Eden youth. As the cross-sector efforts of stakeholders and volunteers so amply proved, a family-friendly, drug and alcohol-free event of the magnitude of the Giiyong Festival injects new growth into an Aboriginal arts industry designed for the future creative landscape of the whole South East region. AcknowledgementsMany thanks to Andrew Gray and Jasmin Williams for supplying a copy of the 2018 Giiyong Festival Report. We appreciated prompt responses to queries from Jasmin Williams, and from our editor Rachel Franks. We are humbly indebted to our two reviewers for their expert direction.ReferencesAustralian Government. Showcasing Creativity: Programming and Presenting First Nations Performing Arts. Australia Council for the Arts Report, 8 Mar. 2017. 20 May 2019 <https://tnn.org.au/2017/03/showcasing-creativity-programming-and-presenting-first-nations-performing-arts-australia-council/>.Bartleet, Brydie-Leigh. “‘Pride in Self, Pride in Community, Pride in Culture’: The Role of Stylin’ Up in Fostering Indigenous Community and Identity.” The Festivalization of Culture. Eds. Andy Bennett, Jodie Taylor, and Ian Woodward. New York: Routledge, 2014.Becker, Howard S. Art Worlds. 25th anniversary edition. Berkeley: U of California P, 2008.Brown, Bill. “The Monaroo Bubberer [Bobberer] Gudu Keeping Place: A Symbol of Aboriginal Self-determination.” ABC South East NSW, 9 Jul. 2015. 20 May 2019 <http://www.abc.net.au/local/photos/2015/07/09/4270480.htm>.Cameron, Stuart. "An Investigation of the History of the Aborigines of the Far South Coast of NSW in the 19th Century." PhD Thesis. Canberra: Australian National U, 1987. Desert Pea Media. The Black Ducks “People of the Mountains and the Sea.” <https://www.youtube.com/watch?v=8fbJNHAdbkg>.“Festival Fanfare.” Eden Magnet 28 June 2018. 1 Mar. 2019 <edenmagnet.com.au>.Gibson, Chris, and John Connell. Music Festivals and Regional Development in Australia. Aldershot: Ashgate, 2012.Gray, Andrew. Personal Communication, 28 Mar. 2019.Henry, Rosita. “Festivals.” The Oxford Companion to Aboriginal Art and Culture. Eds. Syvia Kleinert and Margot Neale. South Melbourne: Oxford UP, 586–87.Horton, David R. “Yuin.” Encyclopaedia of Aboriginal Australia. Ed. David R. Horton. Canberra: Aboriginal Studies Press, 1994.———. Aboriginal Australia Wall Map Compiled by David Horton. Aboriginal Studies Press, 1996.Lygon, Nathan. Personal Communication, 20 May 2019.Mathews, Janet. Albert Thomas Mentions the Leaf Bands That Used to Play in the Old Days. Cassette recorded at Wreck Bay, NSW on 9 July 1964 for the Australian Institute of Aboriginal and Torres Strait Islanders (AIATSIS). LAA1013. McKnight, Albert. “Giiyong Festival the First of Its Kind in Yuin Nation.” Bega District News 17 Sep. 2018. 1 Mar. 2019 <https://www.begadistrictnews.com.au/story/5649214/giiyong-festival-the-first-of-its-kind-in-yuin-nation/?cs=7523#slide=2>. ———. “Giiyong Festival Celebrates Diverse, Enduring Cultures.” Bega District News 24 Sep. 2018. 1 Mar. 2019 <https://www.begadistrictnews.com.au/story/5662590/giiyong-festival-celebrates-diverse-enduring-cultures-photos-videos/>.Myers, Doug. “The Fifth Festival of Pacific Arts.” Australian Aboriginal Studies 1 (1989): 59–62.Simpson, Alison. Personal Communication, 9 Apr. 2019.Slater, Lisa. “Sovereign Bodies: Australian Indigenous Cultural Festivals and Flourishing Lifeworlds.” The Festivalization of Culture. Eds. Andy Bennett, Jodie Taylor, and Ian Woodward. London: Ashgate, 2014. 131–46.South East Arts. "Giiyong Festival Report." Bega: South East Arts, 2018.———. Giiyong Grow the Music. Poster for Event Produced on Saturday, 28 Oct. 2017. Bega: South East Arts, 2017.Williams, Jasmin. Personal Communication, 28 Mar. 2019.Young, Michael, with Ellen, and Debbie Mundy. The Aboriginal People of the Monaro: A Documentary History. Sydney: NSW National Parks and Wildlife Service, 2000.

The digital revolution has been characterized by the overlapping of different media technologies and platforms which reshaped both traditional forms of audiovisual consumption and older conceptions of place and space. John Agnew claims that, traditionally, the notion of place has been associated with two different meanings: ‘the first is a geometric conception of place as a mere part of space and the second is a phenomenological understanding of a place as a distinctive coming together in space’ (317). Both of the dominant meanings have been challenged by the idea that the world itself is increasingly “placeless” as space-spanning connections and flows of information, things, and people undermine the rootedness of a wide range of processes anywhere in particular (Friedman). On the one hand, by obliterating physical distance, new technologies such as the Internet and the cell phone are making places obsolete, on the other hand, the proliferation of media representations favoured by these technologies are making places more relevant than ever. These increasing mediatisation processes, in fact, generate what Urry and Larsen call ‘imaginative geographies’, namely the conflation of representational spaces and physical spaces that substitute and enhance each other in contingent ways (116). The smartphone as a new hybrid media platform that combines different technological features such as digital screens, complex software applications, cameras, tools for online communication and GPS devices, has played a crucial role in the construction of new notions of place. This article examines a specific type of phone applications: mobile, digital mapping tools that allow users to identify film-locations. In doing so it will assess how new media platforms can potentially reconfigure notions of both media consumption, and (physical and imagined) mobility. Furthermore, the analysis of digital movie maps and their mediation of film locations will shed light on the way in which contemporary leisure activities reshape the cultural, social and geographic meaning of place. Digital, Mobile Movie MapsDigital movie maps can be defined as software applications, conceived for smart phones or other mobile devices, which enable users to identify the geographical position of film locations. These applications rely on geotagging which is the process of adding geospatial metadata (usually latitudinal and longitudinal coordinates) to texts or images. From this point of view these phone apps belong to a broader category of media that Tristan Thielmann calls geomedia: converging applications of interactive, digital, mapping tools and mobile and networked media technologies. According to Hjorth, recent studies on mobile media practices show a trend toward “re-enacting the importance of place and home as both a geo-imaginary and socio-cultural precept” (Hjorth 371). In 2008 Google announced that Google Maps and Google Earth will become the basic platform for any information search. Similarly, in 2010 Flickr started georeferencing their complete image stock (Thielmann 8). Based on these current developments media scholars such as Thielmann claim that geomedia will emerge in the future as one of the most pervasive forms of digital technology (8).In my research I identified 44 phone geomedia apps that offered content variously related to film locations. In every case the main functionality of the apps consisted in matching geographic data concerning the locations with visual and written information about the corresponding film production. ‘Scene Seekers’, the first app able to match the title of a film with the GPS map of its locations, was released in 2009. Gradually, subsequent film-location apps incorporated a number of other functions including:Trivia and background information about films and locationsSubmission forms which allow users to share information about their favourite film locatiosLocation photosLinks to film downloadFilm-themed itinerariesAudio guidesOnline discussion groupsCamera/video function which allow users to take photos of the locations and share them on social mediaFilm stills and film clipsAfter identifying the movie map apps, I focused on the examination of the secondary functions they offered and categorized the applications based on both their main purpose and their main target users (as explicitly described in the app store). Four different categories of smart phone applications emerged. Apps conceived for:Business (for location scouts and producers)Entertainment (for trivia and quiz buffs)Education (for students and film history lovers)Travel (for tourists)‘Screen New South Wales Film Location Scout’, an app designed for location scouts requiring location contact information across the state of New South Wales, is an example of the first category. The app provides lists, maps and images of locations used in films shot in the region as well as contact details for local government offices. Most of these types of apps are available for free download and are commissioned by local authorities in the hope of attracting major film productions, which in turn might bring social and economic benefits to the region.A small number of the apps examined target movie fans and quiz buffs. ‘James Bond and Friends’, for example, focuses on real life locations where spy/thriller movies have been shot in London. Interactive maps and photos of the locations show their geographical position. The app also offers a wealth of trivia on spy/thriller movies and tests users’ knowledge of James Bond films with quizzes about the locations. While some of these apps provide information on how to reach particular film locations, the emphasis is on trivia and quizzes rather than travel itself.Some of the apps are explicitly conceived for educational purposes and target film students, film scholars and users interested in the history of film more broadly. The Italian Ministry for Cultural Affairs, for example, developed a number of smartphone apps designed to promote knowledge about Italian Cinema. Each application focuses on one Italian city, and was designed for users wishing to acquire more information about the movie industry in that urban area. The ‘Cinema Roma’ app, for example, contains a selection of geo-referenced film sets from a number of famous films shot in Rome. The film spots are presented via a rich collection of historical images and texts from the Italian National Photographic Archive.Finally, the majority of the apps analysed (around 60%) explicitly targets tourists. One of the most popular film-tourist applications is the ‘British Film Locations’ app with over 100,000 downloads since its launch in 2011. ‘British Film Locations’ was commissioned by VisitBritain, the British tourism agency. Visit Britain has attempted to capitalize on tourists’ enthusiasm around film blockbusters since the early 2000s as their research indicated that 40% of potential visitors would be very likely to visit the place they had seen in films or on TV (VisitBritain). British Film Locations enables users to discover and photograph the most iconic British film locations in cinematic history. Film tourists can search by film title, each film is accompanied by a detailed synopsis and list of locations so users can plan an entire British film tour. The app also allows users to take photos of the location and automatically share them on social networks such as Facebook or Twitter.Movie Maps and Film-TourismAs already mentioned, the majority of the film-location phone apps are designed for travel purposes and include functionalities that cater for the needs of the so called ‘post-tourists’. Maxine Feifer employed this term to describe the new type of tourist arising out of the shift from mass to post-Fordist consumption. The post-tourist crosses physical and virtual boundaries and shifts between experiences of everyday life, either through the actual or the simulated mobility allowed by the omnipresence of signs and electronic images in the contemporary age (Leotta). According to Campbell the post-tourist constructs his or her own tourist experience and destination, combining these into a package of overlapping and disjunctive elements: the imagined (dreams and screen cultures), the real (actual travels and guides) and the virtual (myths and internet) (203). More recently a number of scholars (Guttentag, Huang et al., Neuhofer et al.) have engaged with the application and implications of virtual reality on the planning, management and marketing of post-tourist experiences. Film-induced tourism is an expression of post-tourism. Since the mid-1990s a growing number of scholars (Riley and Van Doren, Tooke and Baker, Hudson and Ritchie, Leotta) have engaged with the study of this phenomenon, which Sue Beeton defined as “visitation to sites where movies and TV programmes have been filmed as well as to tours to production studios, including film-related theme parks” (11). Tourists’ fascination with film sets and locations is a perfect example of Baudrillard’s theory of hyperreality. Such places are simulacra which embody the blurred boundaries between reality and representation in a world in which unmediated access to reality is impossible (Baudrillard).Some scholars have focused on the role of mediated discourse in preparing both the site and the traveller for the process of tourist consumption (Friedberg, Crouch et al.). In particular, John Urry highlights the interdependence between tourism and the media with the concept of the ‘tourist gaze’. Urry argues that the gaze dominates tourism, which is primarily concerned with the commodification of images and visual consumption. According to Urry, movies and television play a crucial role in shaping the tourist gaze as the tourist compares what is gazed at with the familiar image of the object of the gaze. The tourist tries to reproduce his or her own expectations, which have been “constructed and sustained through a variety of non-tourist practices, such as film, TV, literature, records, and videos” (Urry 3). The inclusion of the camera functionality in digital movie maps such as ‘British Film Locations’ fulfils the need to actually reproduce the film images that the tourist has seen at home.Film and MapsThe convergence between film and (virtual) travel is also apparent in the prominent role that cartography plays in movies. Films often allude to maps in their opening sequences to situate their stories in time and space. In turn, the presence of detailed geographical descriptions of space at the narrative level often contributes to establish a stronger connection between film and viewers (Conley). Tom Conley notes that a number of British novels and their cinematic adaptations including Tolkien’s The Lord of the Rings (LOTR) and Stevenson’s Treasure Island belong to the so called ‘cartographic fiction’ genre. In these stories, maps are deployed to undo the narrative thread and inspire alternative itineraries to the extent of legitimising an interactive relation between text and reader or viewer (Conley 225).The popularity of LOTR locations as film-tourist destinations within New Zealand may be, in part, explained by the prominence of maps as both aesthetic and narrative devices (Leotta). The authenticity of the LOTR geography (both the novel and the film trilogy) is reinforced, in fact, by the reoccurring presence of the map. Tolkien designed very detailed maps of Middle Earth that were usually published in the first pages of the books. These maps play a crucial role in the immersion into the imaginary geography of Middle Earth, which represents one of the most important pleasures of reading LOTR (Simmons). The map also features extensively in the cinematic versions of both LOTR and The Hobbit. The Fellowship of the Ring opens with several shots of a map of Middle Earth, anticipating the narrative of displacement that characterizes LOTR. Throughout the trilogy the physical dimensions of the protagonists’ journey are emphasized by the foregrounding of the landscape as a map.The prominence of maps and geographical exploration as a narrative trope in ‘cartographic fiction’ such as LOTR may be responsible for activating the ‘tourist imagination’ of film viewers (Crouch et al.). The ‘tourist imagination’ is a construct that explains the sense of global mobility engendered by the daily consumption of the media, as well as actual travel. As Crouch, Jackson and Thompson put it, “the activity of tourism itself makes sense only as an imaginative process which involves a certain comprehension of the world and enthuses a distinctive emotional engagement with it” (Crouch et al. 1).The use of movie maps, the quest for film locations in real life may reproduce some of the cognitive and emotional pleasures that were activated while watching the movie, particularly if maps, travel and geographic exploration are prominent narrative elements. Several scholars (Couldry, Hills, Beeton) consider film-induced tourism as a contemporary form of pilgrimage and movie maps are becoming an inextricable part of this media ritual. Hudson and Ritchie note that maps produced by local stakeholders to promote the locations of films such as Sideways and LOTR proved to be extremely popular among tourists (391-392). In their study about the impact of paper movie maps on tourist behaviour in the UK, O’Connor and Pratt found that movie maps are an essential component in the marketing mix of a film location. For example, the map of Pride and Prejudice Country developed by the Derbyshire and Lincolnshire tourist boards significantly helped converting potential visitors into tourists as almost two in five visitors stated it ‘definitely’ turned a possible visit into a certainty (O’Connor and Pratt).Media Consumption and PlaceDigital movie maps have the potential to further reconfigure traditional understandings of media consumption and place. According to Nana Verhoeff digital mapping tools encourage a performative cartographic practice in the sense that the dynamic map emerges and changes during the users’ journey. The various functionalities of digital movie maps favour the hybridization between film reception and space navigation as by clicking on the movie map the user could potentially watch a clip of the film, read about both the film and the location, produce his/her own images and comments of the location and share it with other fans online.Furthermore, digital movie maps facilitate and enhance what Nick Couldry, drawing upon Claude Levi Strauss, calls “parcelling out”: the marking out as significant of differences in ritual space (83). According to Couldry, media pilgrimages, the visitation of TV or film locations are rituals that are based from the outset on an act of comparison between the cinematic depiction of place and its physical counterpart. Digital movie maps have the potential to facilitate this comparison by immediately retrieving images of the location as portrayed in the film. Media locations are rife with the marking of differences between the media world and the real locations as according to Couldry some film tourists seek precisely these differences (83).The development of smart phone movie maps, may also contribute to redefine the notion of audiovisual consumption. According to Nanna Verhoeff, mobile screens of navigation fundamentally revise the spatial coordinates of previously dominant, fixed and distancing cinematic screens. One of the main differences between mobile digital screens and larger, cinematic screens is that rather than being surfaces of projection or transmission, they are interfaces of software applications that combine different technological properties of the hybrid screen device: a camera, an interface for online communication, a GPS device (Verhoeff). Because of these characteristics of hybridity and intimate closeness, mobile screens involve practices of mobile and haptic engagement that turn the classical screen as distanced window on the world, into an interactive, hybrid navigation device that repositions the viewer as central within the media world (Verhoeff).In their discussion of the relocation of cinema into the iPhone, Francesco Casetti and Sara Sampietro reached similar conclusions as they define the iPhone as both a visual device and an interactive interface that mobilizes the eye as well as the hand (Casetti and Sampietro 23). The iPhone constructs an ‘existential bubble’ in which the spectator can find refuge while remaining exposed to the surrounding environment. When the surrounding environment is the real life film location, the consumption or re-consumption of the film text allowed by the digital movie map is informed by multi-sensorial and cognitive stimuli that are drastically different from traditional viewing experiences.The increasing popularity of digital movie maps is a phenomenon that could be read in conjunction with the emergence of innovative locative media such as the Google glasses and other applications of Augmented Reality (A.R.). Current smart phones available in the market are already capable to support A.R. applications and it appears likely that this will become a standard feature of movie apps within the next few years (Sakr). Augmented reality refers to the use of data overlays on real-time camera view of a location which make possible to show virtual objects within their spatial context. The camera eye on the device registers physical objects on location, and transmits these images in real time on the screen. On-screen this image is combined with different layers of data: still image, text and moving image.In a film-tourism application of augmented reality tourists would be able to point their phone camera at the location. As the camera identifies the location images from the film will overlay the image of the ‘real location’. The user, therefore, will be able to simultaneously see and walk in both the real location and the virtual film set. The notion of A.R. is related to the haptic aspect of engagement which in turn brings together the doing, the seeing and the feeling (Verhoeff). In film theory the idea of the haptic has come to stand for an engaged look that involves, and is aware of, the body – primarily that of the viewer (Marx, Sobchack). The future convergence between cinematic and mobile technologies is likely to redefine both perspectives on haptic perception of cinema and theories of film spectatorship.The application of A.R. to digital, mobile maps of film-locations will, in part, fulfill the prophecies of René Barjavel. In 1944, before Bazin’s seminal essay on the myth of total cinema, French critic Barjavel, asserted in his book Le Cinema Total that the technological evolution of the cinematic apparatus will eventually result in the total enveloppement (envelopment or immersion) of the film-viewer. This enveloppement will be characterised by the multi-sensorial experience and the full interactivity of the spectator within the movie itself. More recently, Thielmann has claimed that geomedia such as movie maps constitute a first step toward the vision that one day it might be possible to establish 3-D spaces as a medial interface (Thielmann).Film-Tourism, Augmented Reality and digital movie maps will produce a complex immersive and inter-textual media system which is at odds with Walter Benjamin’s famous thesis on the loss of ‘aura’ in the age of mechanical reproduction (Benjamin), as one of the pleasures of film-tourism is precisely the interaction with the auratic place, the actual film location or movie set. According to Nick Couldry, film tourists are interested in the aura of the place and filming itself. The notion of aura is associated here with both the material history of the location and the authentic experience of it (104).Film locations, as mediated by digital movie maps, are places in which people have a complex sensorial, emotional, cognitive and imaginative involvement. The intricate process of remediation of the film-locations can be understood as a symptom of what Lash and Urry have called the ‘re-subjectification of space’ in which ‘locality’ is re-weighted with a more subjective and affective charge of place (56). According to Lash and Urry the aesthetic-expressive dimensions of the experience of place have become as important as the cognitive ones. By providing new layers of cultural meaning and alternative modes of affective engagement, digital movie maps will contribute to redefine both the notion of tourist destination and the construction of place identity. These processes can potentially be highly problematic as within this context the identity and meanings of place are shaped and controlled by the capital forces that finance and distribute the digital movie maps. Future critical investigations of digital cartography will need to address the way in which issues of power and control are deeply enmeshed within new tourist practices. 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The defence of Australia during the Second World War in the Pacific lay in the north of the continent: from Broome and Darwin to Cairns and Townsville. After the Japanese military swept through South East Asia, they were at Australia's backdoor. Initially, there was a quiet period where little appeared to be happening. Then a rapid build-up of Allied military strength began. Cairns, the closest city to the conflict; was only 1000 kms from Port Moresby and Papua New Guinea, and the war that raged in the Coral Sea and Melanesia. The hostilities were closer to the people of Cairns than their State capital, Brisbane, 1800 kms to the south. Roads, bridges, airfields and port facilities had to be greatly improved. All this and trying to keep Allied soldiers from quarrelling - the scene was set for the transformation of the sleepy tropical township of Cairns, where sugar, tourism and fishing held sway, to a busy centre converting to a forward base for the defence of the nation.

Large-scale coastal urban sprawl, development of tourist accommodations and industrial maritime poles have highly increased the tsunami risk to people living and/or traveling along the coasts of our planet. The disastrous tsunamis in the Indian Ocean (2004) and in the Pacific Ocean (2011), as well as a suite of other damaging events worldwide, have encouraged International Institutions, first of all UNESCO Intergovernmental Oceanographic Commission, National Governments and Local Communities to implement Tsunami Warning Systems (TWS), to raise awareness on tsunami risk, and to create a multilevel risk governance. In this framework, research on tsunami risk perception plays a key role. The results of these studies should be taken into account in designing risk mitigation programs and tools (such as drills, activities with local communities, emergency plans, etc.). This paper presents a review of such studies, carried out in several countries worldwide through many thousands of interviews performed with different techniques. Most tsunami risk perception studies were carried out in the regions where the Indian Ocean Tsunami Warning System and the Pacific Ocean one (PTWS) operate. In the NEAMTWS (North-East Atlantic, Mediterranean and connected seas Tsunami Warning Systems) region, only few specific studies were conducted, mostly within the EU-funded ASTARTE project (2013–2017) and more recently in a few extensive surveys on tsunami risk perception conducted in Italy between 2019 and 2021. Although the twenty-three studies analyzed in our review show a strong heterogeneity of methodological approaches and population samples, they allow us to outline some general considerations on tsunami risk as perceived by people in the different regions of the world. With the help of a table, we schematically summarized the emerging strengths, weaknesses and lessons learned in the twenty-three papers, noting an increase in the number of such studies in the last 5 years. The surveys were mostly concentrated in high-risk areas and focused on local residents. Some differences emerged depending on the memory of past tsunamis, education level, and local cultures. This provides useful hints for sound citizen-based tsunami risk reduction actions, including improved risk communication aimed at increasing the resilience of tsunami-prone populations. The need for increasing the assessment of tourists’ tsunami risk perception, and for a more homogeneous survey strategy also emerge from our analysis.

Special Care Notice This paper discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the process of colonisation. Content within this paper may be distressing to some readers. Introduction The decimation of the First Peoples of Van Diemen’s Land (now Tasmania) was systematic and swift. First Contact was an emotionally, intellectually, physically, and spiritually confronting series of encounters for the Indigenous inhabitants. There were, according to some early records, a few examples of peaceful interactions (Morris 84). Yet, the inevitable competition over resources, and the intensity with which colonists pursued their “claims” for food, land, and water, quickly transformed amicable relationships into hostile rivalries. Jennifer Gall has written that, as “European settlement expanded in the late 1820s, violent exchanges between settlers and Aboriginal people were frequent, brutal and unchecked” (58). Indeed, the near-annihilation of the original custodians of the land was, if viewed through the lens of time, a process that could be described as one that was especially efficient. As John Morris notes: in 1803, when the first settlers arrived in Van Diemen’s Land, the Aborigines had already inhabited the island for some 25,000 years and the population has been estimated at 4,000. Seventy-three years later, Truganinni, [often cited as] the last Tasmanian of full Aboriginal descent, was dead. (84) Against a backdrop of extreme violence, often referred to as the Black War (Clements 1), there were some, admittedly dubious, efforts to contain the bloodshed. One such effort, in the late 1820s, was the production, and subsequent distribution, of a set of Proclamation Boards. Approximately 100 Proclamation Boards (the Board) were introduced by the Lieutenant Governor of the day, George Arthur (after whom Port Arthur on the Tasman Peninsula is named). The purpose of these Boards was to communicate, via a four-strip pictogram, to the Indigenous peoples of the island colony that all people—black and white—were considered equal under the law. “British Justice would protect” everyone (Morris 84). This is reflected in the narrative of the Boards. The first image presents Indigenous peoples and colonists living peacefully together. The second, and central, image shows “a conciliatory handshake between the British governor and an Aboriginal ‘chief’, highly reminiscent of images found in North America on treaty medals and anti-slavery tokens” (Darian-Smith and Edmonds 4). The third and fourth images depict the repercussions for committing murder, with an Indigenous man hanged for spearing a colonist and a European man also hanged for shooting an Aborigine. Both men executed under “gubernatorial supervision” (Turnbull 53). Image 1: Governor Davey's [sic - actually Governor Arthur's] Proclamation to the Aborigines, 1816 [sic - actually c. 1828-30]. Image Credit: Mitchell Library, State Library of NSW (Call Number: SAFE / R 247). The Board is an interesting re-imagining of one of the traditional methods of communication for Indigenous peoples; the leaving of images on the bark of trees. Such trees, often referred to as scarred trees, are rare in modern-day Tasmania as “the expansion of settlements, and the impact of bush fires and other environmental factors” resulted in many of these trees being destroyed (Aboriginal Heritage Tasmania online). Similarly, only a few of the Boards, inspired by these trees, survive today. The Proclamation Board was, in the 1860s, re-imagined as the output of a different Governor: Lieutenant Governor Davey (after whom Port Davey, on the south-west coast of Tasmania is named). This re-imagining of the Board’s creator was so effective that the Board, today, is popularly known as Governor Davey’s Proclamation to the Aborigines. This paper outlines several other re-imaginings of this Board. In addition, this paper offers another, new, re-imagining of the Board, positing that this is an early “pamphlet” on crime, justice and punishment which actually presents as a pre-cursor to the modern Australian true crime tale. In doing so this work connects the Proclamation Board to the larger genre of crime fiction. One Proclamation Board: Two Governors Labelled Van Diemen’s Land and settled as a colony of New South Wales in 1803, this island state would secede from the administration of mainland Australia in 1825. Another change would follow in 1856 when Van Diemen’s Land was, in another process of re-imagining, officially re-named Tasmania. This change in nomenclature was an initiative to, symbolically at least, separate the contemporary state from a criminal and violent past (Newman online). Tasmania’s violent history was, perhaps, inevitable. The island was claimed by Philip Gidley King, the Governor of New South Wales, in the name of His Majesty, not for the purpose of building a community, but to “prevent the French from gaining a footing on the east side of that island” and also to procure “timber and other natural products, as well as to raise grain and to promote the seal industry” (Clark 36). Another rationale for this land claim was to “divide the convicts” (Clark 36) which re-fashioned the island into a gaol. It was this penal element of the British colonisation of Australia that saw the worst of the British Empire forced upon the Aboriginal peoples. As historian Clive Turnbull explains: the brutish state of England was reproduced in the English colonies, and that in many ways its brutishness was increased, for now there came to Australia not the humanitarians or the indifferent, but the men who had vested interests in the systems of restraint; among those who suffered restraint were not only a vast number who were merely unfortunate and poverty-stricken—the victims of a ‘depression’—but brutalised persons, child-slaughterers and even potential cannibals. (Turnbull 25) As noted above the Black War of Tasmania saw unprecedented aggression against the rightful occupants of the land. Yet, the Aboriginal peoples were “promised the white man’s justice, the people [were] exhorted to live in amity with them, the wrongs which they suffer [were] deplored” (Turnbull 23). The administrators purported an egalitarian society, one of integration and peace but Van Diemen’s Land was colonised as a prison and as a place of profit. So, “like many apologists whose material benefit is bound up with the systems which they defend” (Turnbull 23), assertions of care for the health and welfare of the Aboriginal peoples were made but were not supported by sufficient policies, or sufficient will, and the Black War continued. Colonel Thomas Davey (1758-1823) was the second person to serve as Lieutenant Governor of Van Diemen’s Land; a term of office that began in 1813 and concluded in 1817. The fourth Lieutenant Governor of the island was Colonel Sir George Arthur (1784-1854); his term of office, significantly longer than Davey’s, being from 1824 to 1836. The two men were very different but are connected through this intriguing artefact, the Proclamation Board. One of the efforts made to assert the principle of equality under the law in Van Diemen’s Land was an outcome of work undertaken by Surveyor General George Frankland (1800-1838). Frankland wrote to Arthur in early 1829 and suggested the Proclamation Board (Morris 84), sometimes referred to as a Picture Board or the Tasmanian Hieroglyphics, as a tool to support Arthur’s various Proclamations. The Proclamation, signed on 15 April 1828 and promulgated in the The Hobart Town Courier on 19 April 1828 (Arthur 1), was one of several notices attempting to reduce the increasing levels of violence between Indigenous peoples and colonists. The date on Frankland’s correspondence clearly situates the Proclamation Board within Arthur’s tenure as Lieutenant Governor. The Board was, however, in the 1860s, re-imagined as the output of Davey. The Clerk of the Tasmanian House of Assembly, Hugh M. Hull, asserted that the Board was the work of Davey and not Arthur. Hull’s rationale for this, despite archival evidence connecting the Board to Frankland and, by extension, to Arthur, is predominantly anecdotal. In a letter to the editor of The Hobart Mercury, published 26 November 1874, Hull wrote: this curiosity was shown by me to the late Mrs Bateman, neé Pitt, a lady who arrived here in 1804, and with whom I went to school in 1822. She at once recognised it as one of a number prepared in 1816, under Governor Davey’s orders; and said she had seen one hanging on a gum tree at Cottage Green—now Battery Point. (3) Hull went on to assert that “if any old gentleman will look at the picture and remember the style of military and civil dress of 1810-15, he will find that Mrs Bateman was right” (3). Interestingly, Hull relies upon the recollections of a deceased school friend and the dress codes depicted by the artist to date the Proclamation Board as a product of 1816, in lieu of documentary evidence dating the Board as a product of 1828-1830. Curiously, the citation of dress can serve to undermine Hull’s argument. An early 1840s watercolour by Thomas Bock, of Mathinna, an Aboriginal child of Flinders Island adopted by Lieutenant Governor John Franklin (Felton online), features the young girl wearing a brightly coloured, high-waisted dress. This dress is very similar to the dresses worn by the children on the Proclamation Board (the difference being that Mathinna wears a red dress with a contrasting waistband, the children on the Board wear plain yellow dresses) (Bock). Acknowledging the simplicity of children's clothing during the colonial era, it could still be argued that it would have been unlikely the Governor of the day would have placed a child, enjoying at that time a life of privilege, in a situation where she sat for a portrait wearing an old-fashioned garment. So effective was Hull’s re-imagining of the Board’s creator that the Board was, for many years, popularly known as Governor Davey’s Proclamation to the Aborigines with even the date modified, to 1816, to fit Davey’s term of office. Further, it is worth noting that catalogue records acknowledge the error of attribution and list both Davey and Arthur as men connected to the creation of the Proclamation Board. A Surviving Board: Mitchell Library, State Library of New South Wales One of the surviving Proclamation Boards is held by the Mitchell Library. The Boards, oil on Huon pine, were painted by “convict artists incarcerated in the island penal colony” (Carroll 73). The work was mass produced (by the standards of mass production of the day) by pouncing, “a technique [of the Italian Renaissance] of pricking the contours of a drawing with a pin. Charcoal was then dusted on to the drawing” (Carroll 75-76). The images, once outlined, were painted in oil. Of approximately 100 Boards made, several survive today. There are seven known Boards within public collections (Gall 58): five in Australia (Mitchell Library, State Library of NSW, Sydney; Museum Victoria, Melbourne; National Library of Australia, Canberra; Tasmanian Museum and Art Gallery, Hobart; and Queen Victoria Museum and Art Gallery, Launceston); and two overseas (The Peabody Museum of Archaeology and Ethnology, Harvard University and the Museum of Archaeology and Ethnology, University of Cambridge). The catalogue record, for the Board held by the Mitchell Library, offers the following details:Paintings: 1 oil painting on Huon pine board, rectangular in shape with rounded corners and hole at top centre for suspension ; 35.7 x 22.6 x 1 cm. 4 scenes are depicted:Aborigines and white settlers in European dress mingling harmoniouslyAboriginal men and women, and an Aboriginal child approach Governor Arthur to shake hands while peaceful soldiers look onA hostile Aboriginal man spears a male white settler and is hanged by the military as Governor Arthur looks onA hostile white settler shoots an Aboriginal man and is hanged by the military as Governor Arthur looks on. (SAFE / R 247) The Mitchell Library Board was purchased from J.W. Beattie in May 1919 for £30 (Morris 86), which is approximately $2,200 today. Importantly, the title of the record notes both the popular attribution of the Board and the man who actually instigated the Board’s production: “Governor Davey’s [sic – actually Governor Arthur] Proclamation to the Aborigines, 1816 [sic – actually c. 1828-30].” The date of the Board is still a cause of some speculation. The earlier date, 1828, marks the declaration of martial law (Turnbull 94) and 1830 marks the Black Line (Edmonds 215); the attempt to form a human line of white men to force many Tasmanian Aboriginals, four of the nine nations, onto the Tasman Peninsula (Ryan 3). Frankland’s suggestion for the Board was put forward on 4 February 1829, with Arthur’s official Conciliator to the Aborigines, G.A. Robinson, recording his first sighting of a Board on 24 December 1829 (Morris 84-85). Thus, the conception of the Board may have been in 1828 but the Proclamation project was not fully realised until 1830. Indeed, a news item on the Proclamation Board did appear in the popular press, but not until 5 March 1830: We are informed that the Government have given directions for the painting of a large number of pictures to be placed in the bush for the contemplation of the Aboriginal Inhabitants. […] However […] the causes of their hostility must be more deeply probed, or their taste as connoisseurs in paintings more clearly established, ere we can look for any beneficial result from this measure. (Colonial Times 2) The remark made in relation to becoming a connoisseur of painting, though intended to be derogatory, makes some sense. There was an assumption that the Indigenous peoples could easily translate a European-styled execution by hanging, as a visual metaphor for all forms of punishment. It has long been understood that Indigenous “social organisation and religious and ceremonial life were often as complex as those of the white invaders” (McCulloch 261). However, the Proclamation Board was, in every sense, Eurocentric and made no attempt to acknowledge the complexities of Aboriginal culture. It was, quite simply, never going to be an effective tool of communication, nor achieve its socio-legal aims. The Board Re-imagined: Popular Media The re-imagining of the Proclamation Board as a construct of Governor Davey, instead of Governor Arthur, is just one of many re-imaginings of this curious object. There are, of course, the various imaginings of the purpose of the Board. On the surface these images are a tool for reconciliation but as “the story of these paintings unfolds […] it becomes clear that the proclamations were in effect envoys sent back to Britain to exhibit the ingenious attempts being applied to civilise Australia” (Carroll 76). In this way the Board was re-imagined by the Administration that funded the exercise, even before the project was completed, from a mechanism to assist in the bringing about of peace into an object that would impress colonial superiors. Khadija von Zinnenburg Carroll has recently written about the Boards in the context of their “transnational circulation” and how “objects become subjects and speak of their past through the ventriloquism of contemporary art history” (75). Carroll argues the Board is an item that couples “military strategy with a fine arts propaganda campaign” (Carroll 78). Critically the Boards never achieved their advertised purpose for, as Carroll explains, there were “elaborate rituals Aboriginal Australians had for the dead” and, therefore, “the display of a dead, hanging body is unthinkable. […] being exposed to the sight of a hanged man must have been experienced as an unimaginable act of disrespect” (92). The Proclamation Board would, in sharp contrast to feelings of unimaginable disrespect, inspire feelings of pride across the colonial population. An example of this pride being revealed in the selection of the Board as an object worthy of reproduction, as a lithograph, for an Intercolonial Exhibition, held in Melbourne in 1866 (Morris 84). The lithograph, which identifies the Board as Governor Davey’s Proclamation to the Aborigines and dated 1816, was listed as item 572, of 738 items submitted by Tasmania, for the event (The Commissioners 69-85). This type of reproduction, or re-imagining, of the Board would not be an isolated event. Penelope Edmonds has described the Board as producing a “visual vernacular” through a range of derivatives including lantern slides, lithographs, and postcards. These types of tourist ephemera are in addition to efforts to produce unique re-workings of the Board as seen in Violet Mace’s Proclamation glazed earthernware, which includes a jug (1928) and a pottery cup (1934) (Edmonds online). The Board Re-imagined: A True Crime Tale The Proclamation Board offers numerous narratives. There is the story that the Board was designed and deployed to communicate. There is the story behind the Board. There is also the story of the credit for the initiative which was transferred from Governor Arthur to Governor Davey and subsequently returned to Arthur. There are, too, the provenance stories of individual Boards. There is another story the Proclamation Board offers. The story of true crime in colonial Australia. The Board, as noted, presents through a four-strip pictogram an idea that all are equal under the rule of law (Arthur 1). Advocating for a society of equals was a duplicitous practice, for while Aborigines were hanged for allegedly murdering settlers, “there is no record of whites being charged, let alone punished, for murdering Aborigines” (Morris 84). It would not be until 1838 that white men would be punished for the murder of Aboriginal people (on the mainland) in the wake of the Myall Creek Massacre, in northern New South Wales. There were other examples of attempts to bring about a greater equity under the rule of law but, as Amanda Nettelbeck explains, there was wide-spread resistance to the investigation and charging of colonists for crimes against the Indigenous population with cases regularly not going to trial, or, if making a courtroom, resulting in an acquittal (355-59). That such cases rested on “legally inadmissible Aboriginal testimony” (Reece in Nettelbeck 358) propped up a justice system that was, inherently, unjust in the nineteenth century. It is important to note that commentators at the time did allude to the crime narrative of the Board: when in the most civilized country in the world it has been found ineffective as example to hang murderers in chains, it is not to be expected a savage race will be influenced by the milder exhibition of effigy and caricature. (Colonial Times 2) It is argued here that the Board was much more than an offering of effigy and caricature. The Proclamation Board presents, in striking detail, the formula for the modern true crime tale: a peace disturbed by the act of murder; and the ensuing search for, and delivery of, justice. Reinforcing this point, are the ideas of justice seen within crime fiction, a genre that focuses on the restoration of order out of chaos (James 174), are made visible here as aspirational. The true crime tale does not, consistently, offer the reassurances found within crime fiction. In the real world, particularly one as violent as colonial Australia, we are forced to acknowledge that, below the surface of the official rhetoric on justice and crime, the guilty often go free and the innocent are sometimes hanged. Another point of note is that, if the latter date offered here, of 1830, is taken as the official date of the production of these Boards, then the significance of the Proclamation Board as a true crime tale is even more pronounced through a connection to crime fiction (both genres sharing a common literary heritage). The year 1830 marks the release of Australia’s first novel, Quintus Servinton written by convicted forger Henry Savery, a crime novel (produced in three volumes) published by Henry Melville of Hobart Town. Thus, this paper suggests, 1830 can be posited as a year that witnessed the production of two significant cultural artefacts, the Proclamation Board and the nation’s first full-length literary work, as also being the year that established the, now indomitable, traditions of true crime and crime fiction in Australia. Conclusion During the late 1820s in Van Diemen’s Land (now Tasmania) a set of approximately 100 Proclamation Boards were produced by the Lieutenant Governor of the day, George Arthur. The official purpose of these items was to communicate, to the Indigenous peoples of the island colony, that all—black and white—were equal under the law. Murderers, be they Aboriginal or colonist, would be punished. The Board is a re-imagining of one of the traditional methods of communication for Indigenous peoples; the leaving of drawings on the bark of trees. The Board was, in the 1860s, in time for an Intercolonial Exhibition, re-imagined as the output of Lieutenant Governor Davey. This re-imagining of the Board was so effective that surviving artefacts, today, are popularly known as Governor Davey’s Proclamation to the Aborigines with the date modified, to 1816, to fit the new narrative. The Proclamation Board was also reimagined, by its creators and consumers, in a variety of ways: as peace offering; military propaganda; exhibition object; tourism ephemera; and contemporary art. This paper has also, briefly, offered another re-imagining of the Board, positing that this early “pamphlet” on justice and punishment actually presents a pre-cursor to the modern Australian true crime tale. The Proclamation Board tells many stories but, at the core of this curious object, is a crime story: the story of mass murder. Acknowledgements The author acknowledges the Palawa peoples: the traditional custodians of the lands known today as Tasmania. The author acknowledges, too, the Gadigal people of the Eora nation upon whose lands this paper was researched and written. The author extends thanks to Richard Neville, Margot Riley, Kirsten Thorpe, and Justine Wilson of the State Library of New South Wales for sharing their knowledge and offering their support. The author is also grateful to the reviewers for their careful reading of the manuscript and for making valuable suggestions. ReferencesAboriginal Heritage Tasmania. “Scarred Trees.” Aboriginal Cultural Heritage, 2012. 12 Sep. 2015 ‹http://www.aboriginalheritage.tas.gov.au/aboriginal-cultural-heritage/archaeological-site-types/scarred-trees›.Arthur, George. “Proclamation.” The Hobart Town Courier 19 Apr. 1828: 1.———. Governor Davey’s [sic – actually Governor Arthur’s] Proclamation to the Aborigines, 1816 [sic – actually c. 1828-30]. Graphic Materials. Sydney: Mitchell Library, State Library of NSW, c. 1828-30.Bock, Thomas. Mathinna. Watercolour and Gouache on Paper. 23 x 19 cm (oval), c. 1840.Carroll, Khadija von Zinnenburg. Art in the Time of Colony: Empires and the Making of the Modern World, 1650-2000. Farnham, UK: Ashgate Publishing, 2014.Clark, Manning. History of Australia. Abridged by Michael Cathcart. Melbourne: Melbourne University Press, 1997 [1993]. Clements, Nicholas. The Black War: Fear, Sex and Resistance in Tasmania. St Lucia, Qld.: U of Queensland P, 2014.Colonial Times. “Hobart Town.” Colonial Times 5 Mar. 1830: 2.The Commissioners. Intercolonial Exhibition Official Catalogue. 2nd ed. Melbourne: Blundell & Ford, 1866.Darian-Smith, Kate, and Penelope Edmonds. “Conciliation on Colonial Frontiers.” Conciliation on Colonial Frontiers: Conflict, Performance and Commemoration in Australia and the Pacific Rim. Eds. Kate Darian-Smith and Penelope Edmonds. New York: Routledge, 2015. 1–14. Edmonds, Penelope. “‘Failing in Every Endeavour to Conciliate’: Governor Arthur’s Proclamation Boards to the Aborigines, Australian Conciliation Narratives and Their Transnational Connections.” Journal of Australian Studies 35.2 (2011): 201–18.———. “The Proclamation Cup: Tasmanian Potter Violet Mace and Colonial Quotations.” reCollections 5.2 (2010). 20 May 2015 ‹http://recollections.nma.gov.au/issues/vol_5_no_2/papers/the_proclamation_cup_›.Felton, Heather. “Mathinna.” Companion to Tasmanian History. Hobart: Centre for Tasmanian Historical Studies, University of Tasmania, 2006. 29 Sep. 2015 ‹http://www.utas.edu.au/library/companion_to_tasmanian_history/M/Mathinna.htm›.Gall, Jennifer. Library of Dreams: Treasures from the National Library of Australia. Canberra: National Library of Australia, 2011.Hull, Hugh M. “Tasmanian Hieroglyphics.” The Hobart Mercury 26 Nov. 1874: 3.James, P.D. Talking about Detective Fiction. New York: Alfred A. Knopf, 2009.Mace, Violet. Violet Mace’s Proclamation Jug. Glazed Earthernware. Launceston: Queen Victoria Museum and Art Gallery, 1928.———. Violet Mace’s Proclamation Cup. Glazed Earthernware. Canberra: National Museum of Australia, 1934.McCulloch, Samuel Clyde. “Sir George Gipps and Eastern Australia’s Policy toward the Aborigine, 1838-46.” The Journal of Modern History 33.3 (1961): 261–69.Morris, John. “Notes on a Message to the Tasmanian Aborigines in 1829, popularly called ‘Governor Davey’s Proclamation to the Aborigines, 1816’.” Australiana 10.3 (1988): 84–7.Nettelbeck, Amanda. “‘Equals of the White Man’: Prosecution of Settlers for Violence against Aboriginal Subjects of the Crown, Colonial Western Australia.” Law and History Review 31.2 (2013): 355–90.Newman, Terry. “Tasmania, the Name.” Companion to Tasmanian History, 2006. 16 Sep. 2015 ‹http://www.utas.edu.au/library/companion_to_tasmanian_history/T/Tasmania%20name.htm›.Reece, Robert H.W., in Amanda Nettelbeck. “‘Equals of the White Man’: Prosecution of Settlers for Violence against Aboriginal Subjects of the Crown, Colonial Western Australia.” Law and History Review 31.2 (2013): 355–90.Ryan, Lyndall. “The Black Line in Van Diemen’s Land: Success or Failure?” Journal of Australian Studies 37.1 (2013): 3–18.Savery, Henry. 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Introduction Many destinations promote culinary encounters. Foods and beverages, and especially how these will taste in situ, are being marketed as niche travel motivators and used in destination brand building across the globe. While initial usage of the term culinary tourism focused on experiencing exotic cultures of foreign destinations by sampling unfamiliar food and drinks, the term has expanded to embrace a range of leisure travel experiences where the aim is to locate and taste local specialities as part of a pleasurable, and hopefully notable, culinary encounter (Wolf). Long’s foundational work was central in developing the idea of culinary tourism as an active endeavor, suggesting that via consumption, individuals construct unique experiences. Ignatov and Smith’s literature review-inspired definition confirms the nature of activity as participatory, and adds consuming food production skills—from observing agriculture and local processors to visiting food markets and attending cooking schools—to culinary purchases. Despite importing almost all of its foodstuffs and beverages, including some of its water, Singapore is an acknowledged global leader in culinary tourism. Horng and Tsai note that culinary tourism conceptually implies that a transferal of “local or special knowledge and information that represent local culture and identities” (41) occurs via these experiences. This article adds the act of reading to these participatory activities and suggests that, because food writing forms an important component of Singapore’s suite of culinary tourism offerings, taste contributes to the cultural experience offered to both visitors and locals. While Singapore foodways have attracted significant scholarship (see, for instance, work by Bishop; Duruz; Huat & Rajah; Tarulevicz, Eating), Singapore food writing, like many artefacts of popular culture, has attracted less notice. Yet, this writing is an increasingly visible component of cultural production of, and about, Singapore, and performs a range of functions for locals, tourists and visitors before they arrive. Although many languages are spoken in Singapore, English is the national language (Alsagoff) and this study focuses on food writing in English. Background Tourism comprises a major part of Singapore’s economy, with recent figures detailing that food and beverage sales contribute over 10 per cent of this revenue, with spend on culinary tours and cookery classes, home wares such as tea-sets and cookbooks, food magazines and food memoirs additional to this (Singapore Government). This may be related to the fact that Singapore not only promotes food as a tourist attraction, but also actively promotes itself as an exceptional culinary destination. The Singapore Tourism Board (STB) includes food in its general information brochures and websites, and its print, television and cinema commercials (Huat and Rajah). It also mounts information-rich campaigns both abroad and inside Singapore. The 2007 ‘Singapore Seasons’ campaign, for instance, promoted Singaporean cuisine alongside films, design, books and other cultural products in London, New York and Beijing. Touring cities identified as key tourist markets in 2011, the ‘Singapore Takeout’ pop-up restaurant brought the taste of Singaporean foods into closer focus. Singaporean chefs worked with high profile locals in its kitchen in a custom-fabricated shipping container to create and demonstrate Singaporean dishes, attracting public and media interest. In country, the STB similarly actively promotes the tastes of Singaporean foods, hosting the annual World Gourmet Summit (Chaney and Ryan) and Pacific Food Expo, both attracting international culinary professionals to work alongside local leaders. The Singapore Food Festival each July is marketed to both locals and visitors. In these ways, the STB, as well as providing events for visitors, is actively urging Singaporeans to proud of their food culture and heritage, so that each Singaporean becomes a proactive ambassador of their cuisine. Singapore Food Writing Popular print guidebooks and online guides to Singapore pay significantly more attention to Singaporean food than they do for many other destinations. Sections on food in such publications discuss at relative length the taste of Singaporean food (always delicious) as well as how varied, authentic, hygienic and suited-to-all-budgets it is. These texts also recommend hawker stalls and food courts alongside cafés and restaurants (Henderson et al.), and a range of other culinary experiences such as city and farm food tours and cookery classes. This writing describes not only what can be seen or learned during these experiences, but also what foods can be sampled, and how these might taste. This focus on taste is reflected in the printed materials that greet the in-bound tourist at the airport. On a visit in October 2013, arrival banners featuring mouth-watering images of local specialities such as chicken rice and chilli crab marked the route from arrival to immigration and baggage collection. Even advertising for a bank was illustrated with photographs of luscious-looking fruits. The free maps and guidebooks available featured food-focused tours and restaurant locations, and there were also substantial free booklets dedicated solely to discussing local delicacies and their flavours, plus recommended locations to sample them. A website and free mobile app were available that contain practical information about dishes, ingredients, cookery methods, and places to eat, as well as historical and cultural information. These resources are also freely distributed to many hotels and popular tourist destinations. Alongside organising food walks, bus tours and cookery classes, the STB also recommends the work of a number of Singaporean food writers—principally prominent Singapore food bloggers, reviewers and a number of memoirists—as authentic guides to what are described as unique Singaporean flavours. The strategies at the heart of this promotion are linking advertising to useful information. At a number of food centres, for instance, STB information panels provide details about both specific dishes and Singapore’s food culture more generally (Henderson et al.). This focus is apparent at many tourist destinations, many of which are also popular local attractions. In historic Fort Canning Park, for instance, there is a recreation of Raffles’ experimental garden, established in 1822, where he grew the nutmeg, clove and other plants that were intended to form the foundation for spice plantations but were largely unsuccessful (Reisz). Today, information panels not only indicate the food plants’ names and how to grow them, but also their culinary and medicinal uses, recipes featuring them and the related food memories of famous Singaporeans. The Singapore Botanic Gardens similarly houses the Ginger Garden displaying several hundred species of ginger and information, and an Eco(-nomic/logical) Garden featuring many food plants and their stories. In Chinatown, panels mounted outside prominent heritage brands (often still quite small shops) add content to the shopping experience. A number of museums profile Singapore’s food culture in more depth. The National Museum of Singapore has a permanent Living History gallery that focuses on Singapore’s street food from the 1950s to 1970s. This display includes food-related artefacts, interactive aromatic displays of spices, films of dishes being made and eaten, and oral histories about food vendors, all supported by text panels and booklets. Here food is used to convey messages about the value of Singapore’s ethnic diversity and cross-cultural exchanges. Versions of some of these dishes can then be sampled in the museum café (Time Out Singapore). The Peranakan Museum—which profiles the unique hybrid culture of the descendants of the Chinese and South Indian traders who married local Malay women—shares this focus, with reconstructed kitchens and dining rooms, exhibits of cooking and eating utensils and displays on food’s ceremonial role in weddings and funerals all supported with significant textual information. The Chinatown Heritage Centre not only recreates food preparation areas as a vivid indicator of poor Chinese immigrants’ living conditions, but also houses The National Restaurant of Singapore, which translates this research directly into meals that recreate the heritage kopi tiam (traditional coffee shop) cuisine of Singapore in the 1930s, purposefully bringing taste into the service of education, as its descriptive menu states, “educationally delighting the palate” (Chinatown Heritage Centre). These museums recognise that shopping is a core tourist activity in Singapore (Chang; Yeung et al.). Their gift- and bookshops cater to the culinary tourist by featuring quality culinary products for sale (including, for instance, teapots and cups, teas, spices and traditional sweets, and other foods) many of which are accompanied by informative tags or brochures. At the centre of these curated, purchasable collections are a range written materials: culinary magazines, cookbooks, food histories and memoirs, as well as postcards and stationery printed with recipes. Food Magazines Locally produced food magazines cater to a range of readerships and serve to extend the culinary experience both in, and outside, Singapore. These include high-end gourmet, luxury lifestyle publications like venerable monthly Wine & Dine: The Art of Good Living, which, in in print for almost thirty years, targets an affluent readership (Wine & Dine). The magazine runs features on local dining, gourmet products and trends, as well as international epicurean locations and products. Beautifully illustrated recipes also feature, as the magazine declares, “we’ve recognised that sharing more recipes should be in the DNA of Wine & Dine’s editorial” (Wine & Dine). Appetite magazine, launched in 2006, targets the “new and emerging generation of gourmets—foodies with a discerning and cosmopolitan outlook, broad horizons and a insatiable appetite” (Edipresse Asia) and is reminiscent in much of its styling of New Zealand’s award-winning Cuisine magazine. Its focus is to present a fresh approach to both cooking at home and dining out, as readers are invited to “Whip up the perfect soufflé or feast with us at the finest restaurants in Singapore and around the region” (Edipresse Asia). Chefs from leading local restaurants are interviewed, and the voices of “fellow foodies and industry watchers” offer an “insider track” on food-related news: “what’s good and what’s new” (Edipresse Asia). In between these publications sits Epicure: Life’s Refinements, which features local dishes, chefs, and restaurants as well as an overseas travel section and a food memories column by a featured author. Locally available ingredients are also highlighted, such as abalone (Cheng) and an interesting range of mushrooms (Epicure). While there is a focus on an epicurean experience, this is presented slightly more casually than in Wine & Dine. Food & Travel focuses more on home cookery, but each issue also includes reviews of Singapore restaurants. The bimonthly bilingual (Chinese and English) Gourmet Living features recipes alongside a notable focus on food culture—with food history columns, restaurant reviews and profiles of celebrated chefs. An extensive range of imported international food magazines are also available, with those from nearby Malaysia and Indonesia regularly including articles on Singapore. Cookbooks These magazines all include reviews of cookery books including Singaporean examples – and some feature other food writing such as food histories, memoirs and blogs. These reviews draw attention to how many Singaporean cookbooks include a focus on food history alongside recipes. Cookery teacher Yee Soo Leong’s 1976 Singaporean Cooking was an early example of cookbook as heritage preservation. This 1976 book takes an unusual view of ‘Singaporean’ flavours. Beginning with sweet foods—Nonya/Singaporean and western cakes, biscuits, pies, pastries, bread, desserts and icings—it also focuses on both Singaporean and Western dishes. This text is also unusual as there are only 6 lines of direct authorial address in the author’s acknowledgements section. Expatriate food writer Wendy Hutton’s Singapore Food, first published in 1979, reprinted many times after and revised in 2007, has long been recognised as one of the most authoritative titles on Singapore’s food heritage. Providing an socio-historical map of Singapore’s culinary traditions, some one third of the first edition was devoted to information about Singaporean multi-cultural food history, including detailed profiles of a number of home cooks alongside its recipes. Published in 1980, Kenneth Mitchell’s A Taste of Singapore is clearly aimed at a foreign readership, noting the variety of foods available due to the racial origins of its inhabitants. The more modest, but equally educational in intent, Hawkers Flavour: A Guide to Hawkers Gourmet in Malaysia and Singapore (in its fourth printing in 1998) contains a detailed introductory essay outlining local food culture, favourite foods and drinks and times these might be served, festivals and festive foods, Indian, Indian Muslim, Chinese, Nyonya (Chinese-Malay), Malay and Halal foods and customs, followed with a selection of recipes from each. More contemporary examples of such information-rich cookbooks, such as those published in the frequently reprinted Periplus Mini Cookbook series, are sold at tourist attractions. Each of these modestly priced, 64-page, mouthwateringly illustrated booklets offer framing information, such as about a specific food culture as in the Nonya kitchen in Nonya Favourites (Boi), and explanatory glossaries of ingredients, as in Homestyle Malay Cooking (Jelani). Most recipes include a boxed paragraph detailing cookery or ingredient information that adds cultural nuance, as well as trying to describe tastes that the (obviously foreign) intended reader may not have encountered. Malaysian-born Violet Oon, who has been called the Julia Child of Singapore (Bergman), writes for both local and visiting readers. The FOOD Paper, published monthly for a decade from January 1987 was, she has stated, then “Singapore’s only monthly publication dedicated to the CSF—Certified Singapore Foodie” (Oon, Violet Oon Cooks 7). Under its auspices, Oon promoted her version of Singaporean cuisine to both locals and visitors, as well as running cookery classes and culinary events, hosting her own television cooking series on the Singapore Broadcasting Corporation, and touring internationally for the STB as a ‘Singapore Food Ambassador’ (Ahmad; Kraal). Taking this representation of flavor further, Oon has also produced a branded range of curry powders, spices, and biscuits, and set up a number of food outlets. Her first cookbook, World Peranakan Cookbook, was published in 1978. Her Singapore: 101 Meals of 1986 was commissioned by the STB, then known as the Singapore Tourist Promotion Board. Violet Oon Cooks, a compilation of recipes from The FOOD Paper, published in 1992, attracted a range of major international as well as Singaporean food sponsors, and her Timeless Recipes, published in 1997, similarly aimed to show how manufactured products could be incorporated into classic Singaporean dishes cooked at home. In 1998, Oon produced A Singapore Family Cookbook featuring 100 dishes. Many were from Nonya cuisine and her following books continued to focus on preserving heritage Singaporean recipes, as do a number of other nationally-cuisine focused collections such as Joyceline Tully and Christopher Tan’s Heritage Feasts: A Collection of Singapore Family Recipes. Sylvia Tan’s Singapore Heritage Food: Yesterday’s Recipes for Today’s Cooks, published in 2004, provides “a tentative account of Singapore’s food history” (5). It does this by mapping the various taste profiles of six thematically-arranged chronologically-overlapping sections, from the heritage of British colonialism, to the uptake of American and Russia foods in the Snackbar era of the 1960s and the use of convenience flavoring ingredients such as curry pastes, sauces, dried and frozen supermarket products from the 1970s. Other Volumes Other food-themed volumes focus on specific historical periods. Cecilia Leong-Salobir’s Food Culture in Colonial Asia: A Taste of Empire discusses the “unique hybrid” (1) cuisine of British expatriates in Singapore from 1858 to 1963. In 2009, the National Museum of Singapore produced the moving Wong Hong Suen’s Wartime Kitchen: Food and Eating in Singapore 1942–1950. This details the resilience and adaptability of both diners and cooks during the Japanese Occupation and in post-war Singapore, when shortages stimulated creativity. There is a centenary history of the Cold Storage company which shipped frozen foods all over south east Asia (Boon) and location-based studies such as Annette Tan’s Savour Chinatown: Stories Memories & Recipes. Tan interviewed hawkers, chefs and restaurant owners, working from this information to write both the book’s recipes and reflect on Chinatown’s culinary history. Food culture also features in (although it is not the main focus) more general book-length studies such as educational texts such as Chew Yen Fook’s The Magic of Singapore and Melanie Guile’s Culture in Singapore (2000). Works that navigate both spaces (of Singaporean culture more generally and its foodways) such Lily Kong’s Singapore Hawker Centres: People, Places, Food, provide an consistent narrative of food in Singapore, stressing its multicultural flavours that can be enjoyed from eateries ranging from hawker stalls to high-end restaurants that, interestingly, that agrees with that promulgated in the food writing discussed above. Food Memoirs and Blogs Many of these narratives include personal material, drawing on the author’s own food experiences and taste memories. This approach is fully developed in the food memoir, a growing sub-genre of Singapore food writing. While memoirs by expatriate Singaporeans such as Cheryl Lu-Lien Tan’s A Tiger in the Kitchen: A Memoir of Food and Family, produced by major publisher Hyperion in New York, has attracted considerable international attention, it presents a story of Singapore cuisine that agrees with such locally produced texts as television chef and food writer Terry Tan’s Stir-fried and Not Shaken: A Nostalgic Trip Down Singapore’s Memory Lane and the food memoir of the Singaporean chef credited with introducing fine Malay dining to Singapore, Aziza Ali’s Sambal Days, Kampong Cuisine, published in Singapore in 2013 with the support of the National Heritage Board. All these memoirs are currently available in Singapore in both bookshops and a number of museums and other attractions. While underscoring the historical and cultural value of these foods, all describe the unique flavours of Singaporean cuisine and its deliciousness. A number of prominent Singapore food bloggers are featured in general guidebooks and promoted by the STB as useful resources to dining out in Singapore. One of the most prominent of these is Leslie Tay, a medical doctor and “passionate foodie” (Knipp) whose awardwinning ieatŸishootŸipost is currently attracting some 90,000 unique visitors every month and has had over 20,000 million hits since its launch in 2006. An online diary of Tay’s visits to hundreds of Singaporean hawker stalls, it includes descriptions and photographs of meals consumed, creating accumulative oral culinary histories of these dishes and those who prepared them. These narratives have been reorganised and reshaped in Tay’s first book The End of Char Kway Teow and Other Hawker Mysteries, where each chapter tells the story of one particular dish, including recommended hawker stalls where it can be enjoyed. Ladyironchef.com is a popular food and travel site that began as a blog in 2007. An edited collection of reviews of eateries and travel information, many by the editor himself, the site features lists of, for example, the best cafes (LadyIronChef “Best Cafes”), eateries at the airport (LadyIronChef “Guide to Dining”), and hawker stalls (Lim). While attesting to the cultural value of these foods, many articles also discuss flavour, as in Lim’s musings on: ‘how good can chicken on rice taste? … The glistening grains of rice perfumed by fresh chicken stock and a whiff of ginger is so good you can even eat it on its own’. Conclusion Recent Singapore food publishing reflects this focus on taste. Tay’s publisher, Epigram, growing Singaporean food list includes the recently released Heritage Cookbooks Series. This highlights specialist Singaporean recipes and cookery techniques, with the stated aim of preserving tastes and foodways that continue to influence Singaporean food culture today. Volumes published to date on Peranakan, South Indian, Cantonese, Eurasian, and Teochew (from the Chaoshan region in the east of China’s Guangdong province) cuisines offer both cultural and practical guides to the quintessential dishes and flavours of each cuisine, featuring simple family dishes alongside more elaborate special occasion meals. In common with the food writing discussed above, the books in this series, although dealing with very different styles of cookery, contribute to an overall impression of the taste of Singapore food that is highly consistent and extremely persuasive. This food writing narrates that Singapore has a delicious as well as distinctive and interesting food culture that plays a significant role in Singaporean life both currently and historically. It also posits that this food culture is, at the same time, easily accessible and also worthy of detailed consideration and discussion. 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Acknowledgements Research to complete this article was supported by Central Queensland University, Australia, under its Outside Studies Program (OSPRO) and Learning and Teaching Education Research Centre (LTERC). An earlier version of part of this article was presented at the 2nd Australasian Regional Food Networks and Cultures Conference, in the Barossa Valley in South Australia, Australia, 11–14 November 2012. The delegates of that conference and expert reviewers of this article offered some excellent suggestions regarding strengthening this article and their advice was much appreciated. All errors are, of course, my own.

Abstract The coconut crab Birgus latro, the largest terrestrial decapod, is under threat in most parts of its geographical range. Its life cycle involves two biomes (restricted terrestrial habitats near the coast, and salt water currents of the tropical Indian and Pacific Oceans). Its dependence on coastal habitat means it is highly vulnerable to the habitat destruction that typically accompanies human population expansion along coastlines. Additionally, it has a slow reproductive rate and can reach large adult body sizes that, together with its slow movement when on land, make it highly susceptible to overharvesting. We studied the distribution and population changes of coconut crabs at 15 island sites in coastal Tanzania on the western edge of the species' geographical range. Our aim was to provide the data required for reassessment of the extinction risk status of this species, which, despite indications of sharp declines in many places, is currently categorized on the IUCN Red List as Data Deficient. Pemba Island, Zanzibar, in Tanzania, is an important refuge for B. latro but subpopulations are fragmented and exploited by children and fishers. We discovered that larger subpopulations are found in the presence of crops and farther away from people, whereas the largest adult coconut crabs are found on more remote island reserves and where crabs are not exploited. Remoteness and protection still offer hope for this species but there are also opportunities for protection through local communities capitalizing on tourist revenue, a conservation solution that could be applied more generally across the species' range.

In the morning of 5 May 2014, over sixty people took their seats in the cosy conference hall of the Holiday Villa Beach Resort and Spa Langkawi, to witness the opening ceremony of the THIC 2014 on the theme: Dimensions of Sustainability in the Planning, Development and Management of Tourism and Hospitality Industry. The Deputy Secretary General, Ministry of Tourism and Culture Malaysia, Rashidi Hasbullah, officiated at the ceremony and joined the conference Chair Dr. Shaharuddin Tahir in welcoming participants from over a dozen countries, mostly Malaysians, Indonesians and Thais, who were also collaborators in organising the meeting. As a display of regional fraternity, the Thai and Malaysian contingents took turns to entertain attendees with a repertoire of traditional dances. This social warm up was to be continued in the evening when UUM Dean of Tourism and Hospitality, Dr. Basri Rashid, played host at a dinner given by the Langkawi Development Authority (LADA). The theme on sustainability was a timely choice given the growing interest in Langkawi and the industry at large in green tourism and the issues of sustainability. Altogether, sixty-seven papers were presented but few addressed the theme explicitly. To be sure, most papers touched on aspects of tourism and hospitality management which were linked, directly or indirectly, to the general concept of sustainable development. Most of the papers that dealt with sustainability issues were contributed by tourism researchers and this preponderance was well reflected in the keynote addresses with three of the four papers focusing on tourism. The only keynote address from a hospitality perspective was a presentation by Dr. Yusak Anshori (Universitas Ciputra) who spoke on sustainable hotel business through environment friendly practices such as a ban on smoking and commercialised recycling of waste material. He observed that although there was a general skepticism if not rejection of the radical approach to ban smoking in the Surabaya Plaza Hotel while he was in charge, the management was able to secure ample sustenance from the segment of market that favoured a smoke-free facility. The three keynote papers that discussed sustainable tourism began with Kadir Din’s address which provided an overview of the concept, current thinking on the subject, and its application on the conference site, Langkawi Island. In his view, the three pillars of sustainability as commonly presented in the literature were arguably too general to capture the influence of context-specific features which may appear to be more localised such as location in areas prone to natural hazards, inept leadership, political instability and technological change. In the case of Langkawi, he considered resource limitations (water, space, power, food supply) to be possible impediments to sustainable tourism, besides a dozen other dimensions which may constrain the capacity of the island to cater to the needs of the visitor. The second address by Kalsom Kayat traced the evolution of the concept “sustainable tourism development” which was linked to the concept of balanced development as promulgated through activities organised by the Club of Rome in 1972. The concern with economic growth was whether it could be sustained in terms of the positive and negative consequences, inluding the impacts of development on the well being of future generations. A desirable model for community-based tourism would be a situation in which the entire community consisting of heterogeneous groups of stakeholders are empowered to plan for their own future with collective community welfare in mind. To do this, there must be appropriate policies, standards and institutional arrangements. As illustrations, Kalsom described examples from four different contexts in Thailand, Nepal, China and Fiji, which together presented a range of cases with different literacies, capacities and degrees of consensus in the community, indicating non-homogeneity among host stakeholders. Institutional support from the state is thus clearly needed to harmonise the needs of hosts and guests for now and the future. The next keynote speaker, Manat Chaisawat, is a familiar figure in the ASEAN tourism circle. His long established involvement in the tourism training gave him enough exposure to recall many regional pronouncements and institutional networks which were always promising on paper, but left much to be desired on the ground. Acharn Manat recounted many initiatives articulated in documents issued by the ASEAN Economic Community (AEC), and Indonesia, Malaysia, Thailand Growth Triangle (IMT-GT) since the 1980s. These regional bodies organised meetings where roadmaps, blueprints and strategic development models were presented, but as the THIC 2014 conference participants were fully aware, there had hardly been much meat that could be appreciated on the ground other than the initiatives which arose from private enterprises. Manat and the other keynote speakers were fortunate to be able to enjoy gratis the luxury of lodging at the Frangipani Langkawi Resort & Spa where innovations towards sustainable hospitality were being experimented as he had happily complimented during his keynote speech. The beaches to the east of Frangipani were probably cleaner than Waikiki, thanks to the operator Anthony Wong who continues to pursue green hospitality as his lifelong corporate goal. My own quick stroll on the beach abutting the venue of the THIC 2014 conference however, revealed a contrasting situation. I saw site occupiers engaged in open burning at the edge of a beachfront property. Along the beach there were plastic and styrofoam litters that could be seen on the spot which was ostensibly one of the best beaches on the island. The idea of acquiring a strip for a pedestrian walk, in line with the Langkawi Blueprint initiatives was strongly opposed by the local community. In this sense, Kalsom was correct in the observation that there was rarely a consensus in the community but there must be a common understanding among locals, tourists and industry insiders, before any blueprint can be effectively translated into a harmonious management of the environment. Manat’s expressed desire to see the development of a sacred heritage trail in honour of an eminent Buddhist monk Luang Pu Tuad was understandable given his religious background. The challenge here, however, was how to persuade the host community to share his sentiment that such a trail which would circumambulate non-Buddhist areas would be for the common good. My own reaction, from the lens of a believer in the wasatiyyah (moderate) approach, was that it was a great idea. Discussing the subject after his presentation, I also raised the need to promote heroines Mok and Chan, the two Malay sisters who are valourised in a downtown statue, in honour of their contributions to the provincial government of Phuket during their war of liberation from Burma. The last time I met Manat was in Pusan (Korea) where we were guests of honour as founding members of the Asia-Pacific Tourism Research Association. I subsequently attended a tourism conference and later a meeting he organised in Phuket which allowed me the opportunity to visit Kamala Beach where Aisyah the descendent of Mahsuri lived. Such was my networking with an old scholar who is now in his seventies. As we parted with a big hug at the Padang Matsirat airport, my hope was that we will meet again, so that we can continue to “gaze across the cultural border” as I had written in a presentation entitled “Gazing across the border from Sintok” in a regional meeting of a similar kind, held both in Sintok and Haatyai several years ago. My desire is that such meetings will strengthen interest among researchers in Malaysia to look beyond the Malaysian context. In so doing, they will also be interested in looking beyond the confines of their own cultural sphere, to be in a position to know and eventually accept the other. For me, this is the only way forward for a harmonious, and through that, a prosperous Malaysia. At the risk of being stigmatized by Non-Muslim readers, I must confess that I am fully committed to Prophet Muhammad’s teaching that one should not subscribe to groupism or asabiyyah. This is the way forward for a sustainable Malaysian society. If we go by the theme of the conference, there seems to be little interest in interrogating any of the multifarious dimensions of sustainable tourism, not even in the three presumed pillars—economic, social and environmental. Looking at the key words of papers, only six of the sixty-three papers mentioned sustainable or sustainability and among them only three had mindfully used the term. When a series of announcement on the conference was made almost a year earlier the subscript was intended to draw a wide audience who would be in the position to share ideas on their respective perspectives on sustainable tourism development since the concept in the subscript can be read as a catch-all tagline intended to persuade prospective participants to attend the gathering. In this sense, the organisers had succeeded in securing that critical mass of some eighty attendees, but in terms of sharing ideas and networking on sustainable tourism and hospitality the THIC series must await many more meetings before this interest in grand ideas and frameworks can gather the momentum it deserves. To be sure, as Kalsom said of the non-homegeneity of the host community, there was a non-homegeneity of attendees, with some showing spirited interest in the sustainability theme while others were more interested in the experience visiting Langkawi, period. As the meeting came to a close with a brief parting message from the conference Chair Shaharuddin and Dean Basri, we were left with a measure of excitement–on the prospect of meeting again for the THIC 2015 in Surabaya. As I write this report, there was an announcement on TV on the discovery of debris from Air Asia carrier flight QZ 8501 which left Surabaya two days earlier. It left us ordinary mortals with a tinge of sadness, but now that more people know the city called Surabaya, we hope our prospective co-organiser at Universitas Cipura will rekindle the regional IMT-GT spirit that we have tried to build together in Phuket, Haatyai and Langkawi.