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of an integrated national development effort.
Curbing child prostitution and environmental
issues such as beach and reef protection are just a
few of the concerns on the Philippine tourism
agenda.
See also: crime; impact, environmental; risk
analysis
Further reading
Richter, L. �1989) The Politics of Tourism in Asia,
Honolulu, HA: University of Hawaii Press. �See
Chapter 3 for tourism policies during the
Marcos and Aquino administrations.)
photography
LINDA K. RICHTER, USA
Photography is ubiquitous in tourism. Wherever
tourists are, either as individuals or on a group tour,
there are still or video cameras. Universal advice
given by most tour agencies to their clients is to
take more film than they think will be needed, and
to test cameras before leaving home. Do not be
disappointed photographically on your trip of a
lifetime, they counsel.
The most frequently cited reason for the
prevalence of photography in tourism is that
the tourists want a memento and record of their
trip, so they collect photographs as they collect
souvenirs. The photograph shows that they were
there, at the site, which accounts for the plethora
of unimaginative photos of sometimes awkwardlooking
persons standing in front of a famous
monument. Often, the photographs are arranged
at home in a temporal sequence and projected, if
they are slides, or assembled in an album as prints.
With the exception of a few professional photographers
and lecturers, the audience for the
photographic record of the tour is usually quite
limited, consisting of the tourists themselves and
their immediate family and friends.
There is evidence suggesting that each wave of
tourists take pictures of the same famous images
that are found in guidebooks, postcards, travel
brochures and such well-known periodicals as
National Geographic. Rather than seeking the original
and the unique, most tourists �with the exception of
some serious photographers) take pictures of
images that are already familiar and have become
common icons in popular cultures on the visited
site. Indeed, many tour itineraries have marked
photo points that are notably scenic, and most
tourists take pictures from the same locations.
Photographic visualisation is a key sensory mode
for the apprehension of the object of the tourist
gaze. In a sense, the camera lens stands between
the tourist and the object, creating a space or
distance that protects him or her from the
unfamiliar and the strange, especially in Third
World tourism. Photography mediates the experience.
In African, Southeast Asian and other
Third World tourism, tourists may be said to
control the exotic through photography as a
mediating technology of seeing. Roland Barthes
and Susan Sontag have even suggested that
photography may be viewed as an aggressive act
�Chalfen 1987). On a safari, the camera is a
substitute for a gun, as the tourist shoots a picture
or captures an image. As the colonialists of old, the
modern tourist controls and domesticates the wild
through photography.
References
Chalfen, R. �1987) Snapshot:Versions of Life, Bowling
Green, KY: Bowling Green State University
Popular Press.
piety
piety 437
EDWARD M. BRUNER, USA
Involving shrines and celebrations, travel for piety
typically entails people visiting one or several sites,
usually located within a universal religious tradition
�but note also the significance of other belief
systems such as animist and quasi-religious/secular).
Devout acts may be performed both during
the journey as well as the sojourn at the
destination�s).
See also: pilgrim; pilgrimage; religion; site,
sacred
JOHN EADE, UK