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402 music
tenance roles of regional and national museums
in the First, Third and Fourth Worlds.)
Richards, G. �ed.) �1996) Cultural Tourism in Europe,
Wallingford: CAB International. �Demonstrates
the rise of cultural as against other forms of
tourism in contemporary Europe, and the
crucial role of museums as icons and attractions
in tourism circuits.)
music
NELSON H.H. GRABURN, USA
Music has an intrinsic relationship to tourism as an
attraction, as a marker of status and lifestyle,
and as the bearer of messages and motivation to
travel. At the simplest level, musical events and
performances are almost ubiquitous attractions for
cultural tourism of all kinds, from the famous
summer music festivals of Europe, to the many jazz
events of North America, or the stereotypic steel
band, rumba and carnival music of the Caribbean.
With the spread of post-colonial diaspora, musical
events are no longer confined to their places of
origin, but may partake in the meÂlange of
metropolitan attractions, such as African music in
Europe and Japan, or Indonesian gamelan bands in
North America and elsewhere.
Furthermore, music is internationally recognised
as an essential part of cultural and lifestyle
expressions. Even with special events, tourists
stereotypically expect certain music to accompany
their experiences of cultural places, such as waltzes
in Vienna, jazz in New Orleans or rumba in Cuba
�Daniel 1995). The tourism industry uses these
associations in its advertising and in providing
authenticating markers for resorts and target
areas. These place associations are also part of a
large system of class and status markers �see
prestige), with musical tastes being ranked
according to systems of connoisseurship indicating
the class, status and lifestyles of associated locales.
Powell's �1988) pioneering research has shown the
way to analyse a more subtle power of music in
providing, through lyric and image, messages for
tourism. She shows how pop music of the 1960s,
1970 and 1980s provided models for youth
tourism, specific to age and gender groups,
giving `permission' to visit new destinations in a
cultural framework of alternative tourism.
References
Daniel, Y. �1995) Rumba:Dance and Social Change in
Contemporary Cubs, Bloomington, IN: University
of Indiana Press. �Examines how a lower class
dance has been celebrated, professionalised and
commoditised for foreign tourists.)
Powell, A. �1988) `Like a Rolling Stone: notions of
youth travel and tourism in pop music of the
sixties, seventies and eighties', in N. Graburn
�ed.), Kroeber Anthropological Society Papers �67±8):
28±34. �Shows how pop music provides models
for youth tourism.)
Further reading
Lie, J. and Abelmann, N. �1992) book review of
Kanko to Ongaku �Tourism and Music), Annals of
Tourism Research 19: 609±12. �Covers many
aspects of the interactions between tourism and
ethnic and popular music.)
myth
NELSON H.H. GRABURN, USA
Myths are stories in which the sacred and the
paradigmatic are intertwined. They speak of
desires, beliefs and the ambivalence and contradictions
of life in the world. Dufour's �1978)
scholarly study of the French weekend examines
some of the ancient mythological connotations
associated with weekend tourism. Dufour argues
that, through the use of such fundamental symbols
as water, sun, earth, fire and sky, weekenders are in
fact engaged in quasi-divine contemplation of
themselves, their natures and their place in the
world �see also symbolism). His most fundamental
hypothesis is that the tourist is `l'homme du
jeu', or `l'homo ludens'.
Barthes �1983) argues that the experiences of the
Eiffel Tower by Parisian citizens and tourists are
essentially totemic. Not only does the tower denote
Paris and its inhabitants, but it also connotes
multiple mythological associations between the