Study On Tourism Performativity Of Ethnic Festivals

As an important part of minority culture,ethnic festivals have become an important tourist attraction and play an important role in the development of ethnic tourism.With the development of tourism and the deepening of tourism research,ethnic festival tourism has become an important area in the field of tourism research.At present,researches on ethnic festival tourism at home and abroad mainly focus on two issues: one is the influence of tourism activities on the ethnic festivals and tourist destination for ethnic festival tourism;the other one is the tourists' experience in ethnic festival activities.From the current theoretical perspectives on the study of ethnic festival tourism,the focus is on the theory of “staged authenticity” and the theory of “tourist gaze”.In recent years,as the research on theory “staged authenticity” and “tourist gaze” in tourism research moves along,some scholars have also criticized the theory of “staged authenticity” and “tourist gaze”,which insist that the theories oversimplify the tourists' tourism behaviors and experience needs,over-emphasize the visual experience of tourists,while ignoring the physical experience of tourists and other meanings in tourism activities.Therefore,as a dialogue and supplement to the above two theories,there has been a “performativity” turn in the field of tourism research.Under the influence of the performativity turn in tourism,as a new perspective of tourism experience research,“performativity” has been paid more and more attention.According to relevant tourism literature,some scholars have studied the related issues of “performativity” and proposed the concept of “performativity” in the field of tourism research.However,the academic community's understanding of the essence of “performativity” is not clear enough and a unified academic discourse system has not yet been formed,which makes it difficult to study “performativity” in the tourism field.Especially in the ethnic festival tourism research,the focus on “performativity” is even more lacking.Therefore,this study takes the Dong's Duoye Festival of Sanjiang,Guangxi as an example to study the “performativity” of minority festival tourism,and uses the qualitative research methods and the grounded theory to explain the “performativity” from the perspective of host and tourist,to provide examples for the research of “performativity” in ethnic festival tourism and a new theoretical perspective for tourism experience research.The study found that,first of all,in the ethnic festival tourism,ethnic culture is the main content that the hosts of the festival tourism present to the visitors.In order to present the ethnic culture on the stage of festival tourism,the hosts often need to finish the performativity production the ethnic culture through various forms and means,so as to better present it on the stage of the festival.Performativity production of culture is an effective way to realize its function of carnival and tourism.It is also an effective way to enhance the attraction of festival tourism and meet the needs of the tourists.The culture after performativity production by the hosts has become a bridge between the hosts and the tourists.It can be said that under the influence of tourism,the hosts of the ethnic festivals,on the basis of real culture,make culture more performative and more suitable for the performance on the stage by staging,processing and adapting it.Traditional culture in the forms of such performing-oriented culture is more suitable for performance and diffusion,and easier for outsiders to understand and experience.The hosts' performance of their culture of ethnic folk customs,songs and dances,architecture and daily life is the result of the hosts' performativity production.Secondly,the performativity experience of the tourists in ethnic festival tourism is mainly divided into three parts: gaze on performative culture,interaction with the performers and post-festival sharing behavior.By analyzing the performativity experience of tourists,it can be found that: First,gaze is the most important and direct way for tourists to experience the performative culture presented by the hosts.In addition to the objective gaze,the tourists also present physical gaze.They will gaze at the performance with the help of modern devices such as mobile phones,cameras and video cameras,the process of which is a manifestation of the physical gaze of the tourists,And the process of physical gaze of one tourist is actually a performance under the gaze of other tourists.Second,interaction with performers is the most direct expression of a visitor's performativity experience.As the subject of tourism,tourists in the process of gazing consumption of performative culture,under the influence of the festival atmosphere,they will also perform their own performance through physical participation.The process of tourists' self-performance is a kind of the external manifestation of the performativity experience.Either the body rhythm during the gaze or the physical participation in the performance process is a kind of self-performance carried out by the tourists,and a kind of tourists' practice for the performativity experience.Third,in the post-festival tourism,the tourists will perform their physical experiences such as what they have seen,heard and felt in the festival tourism through various online platforms.The performances performed are unconscious performances,and the content presented is the result of the performativity production of the tourists' feelings during the tourism.Finally,in the ethnic festival tourism,the hosts display their own culture through cultural performances,which not only provides an effective way for the protection and inheritance of the ethnic culture in the tourism,but also adds the content and atmosphere of the festival to enrich the tourists' experience.At the same time,during the process of gazing at the cultural performances,the tourists are also undergoing a physical gaze,and enjoy the performances of themselves in the sensory threshold space of the performances through their bodies.Therefore,the hosts' presentation and the tourists' performances are mutually influential.The performance of the tourists is influenced by the performative culture presented by the hosts and the performance atmosphere created.In turn,the experience of the tourists will affect the performance of the hosts.Therefore,it can be said that the performativity in the minority festival tourism,no matter it is the performativity of the “show” performed by the hosts,or the various behaviors “as performance” presented by the tourists through their body's practice in the sensory threshold space of the performance,is the performativity of the performance under consultations between the hosts and the tourists,and the performativity under the negotiations and the active interaction of the hosts,performers and tourists.The tourist destination is a "big stage",which is the joint presence of the host and tourists.They rehearse various experience activities in the tourist destination,and produce and consume the tourist destination.As for the tourism destination,the single existence of the host cannot constitute the tourism destination.Only when the tourists enter and perform in it can the tourism destination be called the tourism destination and the "tourism stage" really appear..Therefore,under the guidance of the performativity turn,as a tourism researcher,we should not only pay attention to how tourists experience and consume in the tourist destination,but also pay attention to how tourists,as the subject of the performance,carry out production for the tourist destination through their own performances,and then design,produce and display their tourism experience.The destination is produced through the performance of tourists.Therefore,this study focuses on the performativity turn of tourism and the performer identity of tourists,so as to provide a new theoretical basis and a new research perspective for tourism experience,especially tourist experience research.