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126 culture broker<br />

common thread that runs through many explanations<br />

on cultural tourism. One of the most elegant<br />

of these humanistic definitions is expressed by<br />

Adams simply as `travel for personal enrichment'<br />

�1995: 32). Kneasfsey reflect and expands on this<br />

idea of a search for knowledge �1994: 105). Further,<br />

they express the ideas of development, presentation<br />

and interpretation of cultural resources as an<br />

essential element of tourism. This expression of<br />

cultural tourism as an industry is an important<br />

aspect of the modern understanding of it.<br />

In short, cultural tourism can be defined broadly<br />

as the commercialised manifestation of the human<br />

desiring to see how others live. It is based on<br />

satisfying the demand of the curious tourist to see<br />

other peoples in their `authentic' environment and<br />

to view the physical manifestations of their lives as<br />

expressed in arts and crafts, music, literature,<br />

dance, food and drink, play, handicrafts, language<br />

and ritual.<br />

References<br />

Adams, G.D. �1995) `Cultural tourism: the arrival<br />

of the intelligent traveler', Museum News,<br />

December: 32±5.<br />

Kneasfsey, M. �1994) `The cultural tourism: patron<br />

saint of Ireland?', in U. Kockle �ed.), Culture,<br />

Tourism and Development, Liverpool: Liverpool<br />

University Press.<br />

Williams, R. �1983) Keywords:A Vocabulary of Culture<br />

and Society, London: Fontana.<br />

World Tourism Organization �1995) Report of the<br />

Secretary General of the General Programme of the Work<br />

for the Period 1984±1985, Madrid: World Tourism<br />

Organization.<br />

KEITH DEWAR, NEW ZEALAND<br />

culture see anthropology; cross-cultural study;<br />

culture, corporate; ethnography; sociology<br />

culture broker<br />

The term `culture broker' refers to a person who is<br />

a middleman or a mediator between the destination<br />

culture and the tourist culture. This broker<br />

is a go-between who usually assumes the role of<br />

explaining or selling the indigenous culture to those<br />

visiting the destination. A tour guide, for example,<br />

would be a culture broker, as a person who escorts<br />

tourists to the various villages and sites along the<br />

tour itinerary, and who interprets or explains<br />

what they have seen. A `culture broker', in brief,<br />

describes one culture for the benefit of the<br />

members of another �Cohen 1985).<br />

Tour guides are not the only form of culture<br />

broker. A similar function may be performed by<br />

local intellectuals who write books or articles about<br />

the traditional culture for visitors, or by local<br />

businessmen who conduct seminars or consult for<br />

foreign companies on how to do business in a<br />

culturally alien setting. Further, an English anthropologist,<br />

for example, may write an ethnographic<br />

account of an African culture for consumption by<br />

an English or a Western audience, and in that sense<br />

the writer becomes a form of culture broker who<br />

takes on the task of explaining African culture for<br />

other English people. Journalists, artists, photographers<br />

and travel writers may serve in a similar<br />

capacity.<br />

Tour agencies and governmental bureaus who<br />

select the sites that tourists will visit and who design<br />

the itinerary of the tour are indeed culture brokers,<br />

ones who have considerable power. They not only<br />

select which domestic attractions the tourists will<br />

visit and which sites will be excluded, but by their<br />

overall design of the tour they play a large part in<br />

constructing what the tourists will see of the host<br />

country, and hence the impression of the country<br />

that the tourists bring home with them.<br />

A tour agency or a governmental tourist bureau<br />

may conduct a course or provide guidelines on how<br />

the local guides should conduct themselves when<br />

dealing with select groups of tourists, such as those<br />

from Japan, Italy or Germany. On these occasions<br />

the bureau is a culture broker, assuming the role of<br />

explaining the tourist culture to the local interpreters<br />

of indigenous culture. One may even think<br />

of the process as double-ended or open-ended, for<br />

no one has absolute knowledge of a culture and<br />

there is always the possibility of misunderstanding<br />

and ambiguity. Foreign tourists may be trying to<br />

figure out the local culture with the help of<br />

domestic tour guides, but the guides themselves

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