Suchergebnisse

Zsfassung in engl. Sprache u.d.T.: The Russian state budget: relations between the centre and the territories

Cambodia, Myanmar and Laos are destinations growing in popularity. All three countries are poor, with a context of recent or current conflict. Tourism is regarded as a potential saviour: a source of foreign money, whilst enhancing global awareness of each nation. Whilst tourism is largely government managed, diverse NGOs work to ameliorate conditions of the poor. There are also private social entrepreneurs running operations to upskill disadvantaged people. This paper explores a range of grassroots ventures. Tourists are the customers for most of these enterprises; so how does the academic researcher considering these spaces as case studies, differ from tourists?Fieldwork took place on three visits, 2017-2019. Initiatives included artisan and craft projects, food producers, restaurants, and eco-tourism. For social entrepreneurs running these, theire schema is responsible, grassroots development, to a social justice agenda. Many tourists consciously seek such sites. In this way, the touristic practice resembles the researcher praxis. This researcher, like any visitor, located such enterprises via websites, travel blogs, and in the field. Most functioned as charities or modest businesses. Ethically, and out of courtesy as well as desire, the researcher also purchased goods and services from each enterprise, exactly as tourists do.

International retirement migration (IRM) refers to the rapidly growing wave of financially independent individuals from diverse nations seeking affordable, comfortable retirement away from their home nation. The goal is to maximise personal resources to enjoy those last years. Bali Indonesia was 'not fully tamed by colonialism until the twentieth century.' In becoming part of Dutch Indonesia it had endured a 'long and bloody struggle' (Vickers, 2012; 18). Today, it can be argued, Bali is in effect being colonised again, this time not just by 4 million tourists annually, but by international retiree settlers. Bali's warm climate, benign culture, and comparative affordability deliver the prospect for foreigners to upwardly mobilise to a quality of living inaccessible at home. Local government authorities and residents respond to this influx by finding ways to maximise benefit from this lucrative retiree market. The requirements of the settlers are prioritised for potential profit.

Material objects are imbued with accumulated meanings. This article explores the migrating meanings of vintage popular cultural artefacts in New Zealand. These once mundane household items are now treasured collectibles known as 'kiwiana'. In the face of the risk of annihilation of
difference through the impacts of globalization, these collectibles are valued for their idiosyncratic localness. With the inundation of cheap generic imported merchandise onto the market, there is a revival of enthusiasm for insistently local materiality. As souvenirs of everyday life of
the past, they enable collectors to perform a version of the self while reiterating populist cultural mythologies of nation.

The Sarajevo Winter Festival (Sarajevska Zima) has been running continuously since 1984. Remarkably, even during the 1990s war and siege the festival continued, with patrons and artists ducking sniper fire to attend events. For the tourist or foreign artist visiting Sarajevo for Sarajevska Zima, the experience is a case study of Dark Tourism. Visitors certainly know about the genocide; they saw it on television. They learnt a new term, `ethnic cleansing'. In this city the citizens endured unimaginable nightmares; addressing issues of survival is an ongoing process. At the festival the artists work in galleries and on the streets. The city environs with the numerous sprawling cemeteries of gleaming gravestones is an ever-present reminder of events in recent memory. The foreign artists' re-appropriation of public spaces demonstrates their own compassionate responses to the war experiences of Bosnia-Herzegovina.

Throughout New Zealand, giant roadside objects—sheep, cows, dogs—and murals depicting local history denote local claims to fame. As a collection, these artifacts tell the rural sector's story of agriculture and productivity. The 1980s rural downturn led to a declining rural population and a perceived declining status of rural dwellers. The ongoing construction of place markers indicates that the need to express identity is a continuous project. In the face of the huge competition for markets and for media attention, as a consequence of globalization, local residents draw from what they know best: versions of their own history and of local character.