Rural Tourism Quotes

Tourists who come to Nepal look at terraced fields and see their beauty but remain blind to the hard labour they extract from tillers.

Morning breath” is hydrogen sulfide released by bacteria consuming shed tongue cells while you mouth-breathe for eight hours; saliva normally washes the debris away. The stench is a warning: this item contains a lot of bacteria and could (depending on which bacteria they are) make you sick. The scariest, stinkiest cuisines are in countries where both food and refrigeration are scarce. Rural Sudanese eat fermented (that is, decomposing) caterpillar, frog, and, less proteinaceously, heifer urine. Yet one more reason tourism has been slow to catch on in the Sudan.

Theatre and tourism are kindred practices. Both are experiences of temporary escape to different, sometimes distant, places and times. Both immerse you in other lives or other ways of living. Both mix fantasy, pleasure, and play with the promise of authentic cultural knowledge. Whether you travel by plane or bus, or whether it is only your imagination that is transported, in both tourism and theatre, embodied presence—being there—is of the essence. Tourism and theatre are alike in other ways. They are both leisure industries, bound up with global economic and political processes, such as colonization or nation-building, and more local ones, such as rural revitalization or city planning. As the example of the Guthrie shows, they share imagery and ideologies, techniques and technologies. Since the advent of commercial leisure travel in the eighteenth century, tourism and theatre have ridden on the coattails of each other’s commercial success. It is remarkable then that scholars have rarely attempted to look at the relationship between them. But it is also telling. Contemporary critics routinely berate tourist attractions for being overly theatrical or theatrical productions for being too touristic, as if the conjunction of the two was supercharged with cultural danger. Where does our discomfort with seeing theatre in tourism and tourism in theatre come from? What if we were to take touristic theatre and theatrical tourism seriously, as aesthetically dynamic practices? As sites of public culture with social, economic, and political significance?

If I find this nostalgia for a "vanished" landscape a bit strange it is probably because as I write I can look from my window over twenty miles of superb countryside to the sea and a sparsely populated coast. This county, like many others, has seemingly limitless landscapes of great beauty and variety, unspoiled by excessive tourism or the uglier forms of industry. Elsewhere big cities have certainly destroyed the surrounding countryside but rapid transport now makes it possible for a Londoner to spend the time they would have needed to get to Box Hill forty years ago in getting to Northumberland. I think it is simple neophobia which makes people hate the modern world and its changing society; it is xenophobia which makes them unable to imagine what rural beauty might lie beyond the boundaries of their particular Shire. They would rather read Miss Read and The Horse Whisperer and share a miserable complaint or two on the commuter train while planning to take their holidays in Bournemouth, as usual, because they can't afford to go to Spain this year. They don't want rural beauty anyway; they want a sunny day, a pretty view. Writers like Tolkien take you to the edge of the Abyss and point out the excellent tea-garden at the bottom, showing you the steps carved into the cliff and reminding you to be a bit careful because the hand-rails are a trifle shaky as you go down; they haven't got the approval yet to put a new one in. I never liked A. A. Milne, even when I was very young. There is an element of conspiratorial persuasion in his tone that a suspicious child can detect early in life. Let's all be cosy, it seems to say (children's books are, after all, often written by conservative adults anxious to maintain an unreal attitude to childhood); let's forget about our troubles and go to sleep. At which I would find myself stirring to a sitting position in my little bed and responding with uncivilized bad taste.