![the reframe the reframe](https://ssl-static.libsyn.com/p/assets/0/3/6/8/03688ee668b0acd4/reframe_logo_final.png)
Both are present in the immigrant and diaspora groups living in and visiting cities and in the historical markers of colonialism and subsequent decolonial practices in the urban fabric.Īs a tourist offering, French Concessions are hip, historic (singled out as such) and a mix of Europe and China.
![the reframe the reframe](https://cdn.stayhappening.com/events10/banners/9bd70d76548f5e7656a38918febd3f50aa91ff247cb8d8ce137d5c3311e73de3-rimg-w526-h277-gmir.jpg)
Being a part of the experience economy colonial heritage is re-inscribed as a hybridity between metropole and culture. Another is to search for other agents, artistic or citizen activist groups who, at specific in situ places, with pronounced haunting atmospheres and with the help of strong charismatic materialities, are capable of attracting audiences to a sight. In order to produce sight sacralization, massive institutional support is one strategy. Framings have the function of either protecting or enhancing the sight, and they can be investigated discursively or materially.
#The reframe how to
Looking at how to produce a tourist attraction, he defines it as a relationship or a situation of communication between a tourist, a sight and a marker (signs, guidebooks, travelogues, TripAdvisor etc.). The concept of framing is used by Dean MacCannell in tourism studies as part of what he calls sight sacralization. It is very often the case that both framings and reframings of colonial relics, landscapes or practices are encouraged and fuelled by new mobility patterns. Reframing can take various forms and build in various degrees on the specific colonial historical past in question.Īs all kinds of past are renewable resources, tourism and the heritage industry enter our conversation on colonial heritage as strong parameters of local, regional and national growth and development.
![the reframe the reframe](https://news.tfw2005.com/wp-content/uploads/sites/10/2019/03/Transformers-Bumblebee-ReFramed-Stamp.jpg)
To reframe colonial heritage as a renewable resource, then, entails inserting its legacy into new narratives and alternative material settings that can help to create a 'new' heritage. Trivial frames are often targeted in decolonial criticism and heritage practices. The politicization of Sinterklaasfeest and its reading as an overt (neo)colonial cultural practice is a distinct expression of the fact that trivial frames – and not only particular framings – are changing. An interesting case of a heritage practice that has shifted from being trivial and just supporting dominant meanings to become informative and here regarded as a biased and race-insensitive utterance in public space – and therefore subject to contestation – is the phenomenon of Zwarte Piet, the black companion of Sinterklaas in the annual celebration of the Sinterklaasfeest in the Netherlands. Such framings are more or less explicit in the ways they state and address their own framings. With framing, an overtly discursive as well as an often intentional and strategic purpose to a situation of communication is added in the way framings support, negotiate or run counter to dominant frames. In communication theory and media studies, framing is used to describe the power of a communicating text when it becomes informative and performative. To begin with frame, we can say that frames are presupposed dominant trivial meanings that citizens in prescribed sociocultural contexts have at hand to identify and make sense of what is happening in their world. The prefix 're', and the words frame and framing. The word reframing contains three elements that I would like to distinguish from each other here. A reframed colonial past can then, while boosting local, regional or even national economies, prevent awareness of, public debates on and actions relating to the past in question. In that case, the colonial past tends to become de-politicized, packaged and consumed as just another 'experience'. And reframing can likewise too willingly comply with voyeuristic desires of publics and thereby turn into dark heritage sites for thrill-seeking visitors. But reframing runs the risk of simply overlooking the difficulties and severe long-term consequence of colonialism by being eager to reposition the colonial heritage in question. In this sense, reframing approaches the politicized mode of re-emergence. Reframing entails inserting and staging a legacy into new narratives and creating experiential material environments or curatorial spaces around them to offer public leisure activities that can sensitize larger audiences to colonialism as a difficult past. The colonial heritage practice of reframing is literally a heritage practice that frames colonial heritage as a renewable resource.