Ambiguous heritage and the place of tourism: Bangkok’s Rattanakosin (original) (raw)
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In 2009, a 55-feet tall Kuang-Im statue, the Buddhist goddess of mercy, was built next to “Bridge on the River Kwai” in Kachanaburi, Thailand as part of a new Buddhist temple complex. The move was derided by international conservation groups and advocacy groups representing ex-servicemen and prisoners of war (POW) in World War II. The protest focused on two key points: firstly, the statue adversely affected the visual appreciation of the landmark representing the Thai-Burma Railway built in World War II. Secondly, erecting a Buddhist statue next to a heritage site is seen as being insensitive to the religious belief of Allied POWs buried in the Commonwealth War Grave Cemetery nearby. Even though the protest died down without halting the construction of the statue and the temple, issues particular to the management of such transnational heritage sites was bought to the forefront. Firstly, what types of development are considered sensitive and appropriate for sites that embodied shared heritage and strong emotions; secondly how does tourist development affect the the war heritage and local identity of Tha Makham. Drawing from the conference’s discussion theme “Does heritage shape tourism or does tourism shape cultural heritage”, this paper will show how the town, Tha Makham in Kanchanaburi, Thailand was first conceived as a representation of the bridge in the movie “The Bridge on the River Kwai”. It will then highlight examples of how elements of war heritage are appropriated to attract international and local visitors. Lastly, the paper will look at the two approaches for tourism espoused by various stakeholders, a conservation-driven approach versus a profit-driven one.
The development of tourist attractions in Bangkok, 1960s-2013 1
This article aims to examine the development of tourist attractions in Bangkok from 1960s to year 2013. It founds that Bangkok cultural attractions could be grouped as Buddhist cultural attraction, Fine art cultural attraction and Food cultural attraction. Buddhist culture and fine art culture are traditional tourist attractions that have been selected and promoted by the state as the representatives of 'civilized' city and nation. Bangkok cultural attractions and recreation areas have been continuously developed due to development plan and global tourism trends since 1960s. Focusing on modern culture, or culture that come with urbanization transforming BKK to be a modern state the decline of natural areas and the rapid urbanization in Bangkok throughout 50 years, led to an increase in Bangkok modern attractions and advancement of cultural management. Modern attractions were changed from 'American culture' such as Theatres and Hollywood Films, Night Clubs and Fast food in 1960s constructed under development plans with the support of US to 'global culture' or shared urban culture among Metropolis in the world that comes from all directions since 1980s. As for the management of traditional culture, before the period of 'Amazing Thailand' campaign, in 1960s Bangkok was promoted Buddhist culture and Royal culture to serve western visitors as the main group. Later in 1970s-1980s, the discourse on cultural preservation was launched by the state. This caused the renovation of Rattanakosin Island. Since 1990s, there are more advancement of cultural management in and outside Bangkok Old town.
Indian Community Heritage: Case Study Soi 3 (Nana) on Sukhumvit Road, Bangkok
2018
This research studied background of Indians in Thailand, Nana community, Indian heritage and phenomena of present Nana. Nana precinct on Sukhumvit Road in Bangkok began as an Indian commercial community in tailor shops, Indian restaurants and mixed shops. Moreover, many Thai, Burmese and Thai – Lao people work in different careers e.g. street vendors, perfume shops and massage parlors. As tourists have continually changed from American servicemen in the Vietnam War era to mainly focus Middle-Eastern tourists. In addition, ASEAN people consisting of Chinese and Indian people have become tourists here. There are approached through five ways (1) Nana as spectacle in ambiguity of labels and Nana area’s disorder (2) Nana as a unity of diversity in dress, food, multi-languages and hotels (3) Nana as commodification (4) Nana as politic and economy (5) Nana as tourism in hedonistic and medical tourism.
Jarssh, 2017
Urban landscape is not only a thing that shows physical condition or spatial context of the city, changes, and evolutions of the city that appear at the sight of watchers and visitors, but also has very important effect on the perception of visitors and travelers who search for learning of new and strange experiences in societies they visit. Bueng Phalan Chai is regarded as the provincial symbol of Roi Et, Thailand. If communities and the city see the value and importance of cultural heritage in this urban landscape that brings income and good economy from tourism to their own society and collaboratively manage unique landscape of Roi Et city for being an important selling point for tourists, these cultural heritages will not only remain with the city and make more income for tourist attractions, but also affect the positive perception and impression for visitors.
Discourses with the past: Tourism and heritage in South-East Asia
Indonesia …, 2003
This special issue is intended to explore in some empirical detail the relationships between culture (including ethnicity) nature, tourism, development, and political action, and in this connection to focus specifically on what is widely called 'heritage' and its conceptualization and representation in SouthEast Asia. Heritage is both a narrow concept, literally 'what is or may be inherited' (Little Oxford English Dictionary, 1996: 294), and a broader one pertaining to notions of ethnicity and nationalism, and even global identity. Heritage has become something which the state and its agents, as well as tourists and local communities appropriate and create as an object worthy of touristic attention, though only certain items are selected for this purpose and others are discarded. It has been remarked upon frequently that the concept of heritage is difficult to define and that, in popular discourse, its meaning is very wide and flexible. A useful starting point is the United Nations Educational, Scientific and Cultural Organization (UNESCO), which designates World Heritage Sites as of either 'cultural' or 'natural' or 'mixed' (both cultural and natural) importance. According to the World Heritage Convention, 1 which was adopted by UNESCO in 1972, 'cultural heritage' embraces a group of buildings or a site of historical, aesthetic, archaeological, scientific, ethnological or anthropological value'. In contrast UNESCO defines 'natural heritage' in terms of outstanding physical, biological, and geological features; habitats of threatened plants or animal species and areas of value on scientific and aesthetic grounds or from the perspective of conservation. We are using the term heritage here to refer primarily to tangible and concrete elements of the past which are presented and represented in the present: archaeological finds, historical sites, monuments and buildings, urban and rural landscapes, and material artefacts (usually housed and displayed in museums). What is more 'the sites selected to represent the country's heritage will also have strong implications for both collective and individual identity and hence the creation of social realities' (Black and Wall, 2001: 123). We also recognize that the term is used in a wider sense to refer not just to 'traditional' material objects but also to 'traditional' ways of life (often such overt, sensory and 'aesthetic' cultural forms as dance, drama, music, and the visual and plastic arts), which are usually brought into association with the material evidence of the past. The importance of these cultural forms as heritage is enhanced precisely because governments in promoting tourism tend to focus on those which are immediate, accessible, colourful, and visible to the 'tourist gaze', and which can be more easily shaped and constructed (Wood, 1997: 10). The concept of heritage therefore shades into the more general concepts of culture and tradition, and it is bound up with issues of national and local identities. However, as we shall see, even the natural environment can be defined and sanctioned as heritage and moulded in particular ways for the tourist market, although it is usually presented and given meaning, as is cultural heritage, as