And the Phenomenon 'Dark Tourism'

and the phenomenon ‘Dark tourism’ Aalborg University, Copenhagen MA Tourism 4th semester HandTurn--in date: July 31in date: July 31stst 20172017 Keystrokes:Keystokes: 155370 Student: Brynn Ida DaStudent: Brynn Ida Dan Hulln Hull Student Number: 20141022 Supervisor: Anders Sørensen Supervisor: Anders Sørensen Brynn Ida Dan Hull 20141022 Abstract ‘Dark tourism’ is an important aspect of tourism. It can be found around the world at different locations. Furthermore, the phenomenon ‘Dark tourism’ as such has been growing in the last two centuries, and therefore many scholars have different definitions regarding it. In the following, the researcher will go through the different definitions and explore the phenomenon. Furthermore, Stone (2006) has argued that different attractions within ‘Dark tourism’ lie within a spectrum. He argues that some attractions are darker than others. One attraction especially will be mentioned: The Dungeons within Merlin Entertainments. The researcher will explore the phenomenon ‘Dark tourism’ in the context of the Dungeons, and explore if the Dungeons can be classified as a ‘Dark tourism’ attraction. To do so, the researcher has used qualitative methods, such as participant observation, interview, focus group and reviews on social networks. The social networks, which the researcher have found reviews on, are: Facebook, Google and Trip Advisor. Through the reviews, the researcher has categorized six different experiences: Age, Funny, History, Learn, Scary and Dark tourism. This research concludes in what way the Dungeons challenge the phenomenon ‘Dark tourism’. Keywords: ‘Dark tourism’, The Dungeons, Merlin Entertainments and Qualitative methods 2 Brynn Ida Dan Hull 20141022 Acknowledgement Firstly, I would like to express my gratitude to my supervisor Anders Sørensen for the discussions, insights, comments and knowledge regarding my topic. Likewise, I would like to thank him for the enormous interest, as it has helped my research from the start to the end. Furthermore, I would like to thank the London Dungeon and the Amsterdam Dungeon for their terrifying fun in both Dungeons. I would never have come up with this research topic, if it were not for the critical aspect I came out with in the London Dungeon on my trip to London in October 2016. Likewise, I would like to thank Michael Hoogdorp from the Amsterdam Dungeon for an interview, and Jay from the London Dungeon for his e-mail. Lastly, I would like to take this opportunity to express my gratitude to Aalborg University of Copenhagen, the Faculty of Humanities and the Study of Tourism. I would like to thank the faculty members for 3 years of help and support. Likewise, I will also like to thank my family, my boyfriend, my friends and my colleagues for the encouragement, support and patience. Without all of this support, it would not have been possible to conduct this research. 3 Brynn Ida Dan Hull 20141022 Clarification list In order to prevent misunderstanding in the following research, I have made this list to clarify the meaning regarding the following terms. The mentioned terms are: Guests – it is the people, which visit the Dungeons. Tourists – it is the people, which visit ‘Dark tourism’ attractions. Phenomenon – As there are many different definitions regarding ‘Dark tourism’. ‘Dark tourism’ is classified as a phenomenon rather than a term. The Dungeons – this is referred to all the Dungeons within Merlin Entertainments. List of Pictures, Figures and Tables Picture 1 – The old Sea Fortress Prison, 2015 Picture 2 – Pearl Harbor in Honolulu, 2010 Figure 1 – Merlin’s Umbrella Table 1 – Travels Table 2 – Categories of reviews Table 3 – Trip Advisor – The London Dungeon Table 4 – Trip Advisor – The Amsterdam Dungeon Table 5 – The understanding of demand and supply Table 6 – Spectrum of ‘Dark tourism’ part 1 Table 7 – Spectrum of ‘Dark tourism’ part 2 4 Brynn Ida Dan Hull 20141022 Table of Contents 1.0 Introduction 7 1.1 Motivation 8 1.2 Problem formulation 10 1.3 Structure 10 2.0 Case description 11 2.1 The London Dungeon 11 2.2 The Amsterdam Dungeon 12 2.3 Merlin Entertainments 14 2.4 Conclusion of Case description 15 3.0 Methodology 16 3.1 Research philosophy 16 3.1.1 Ontology 16 3.1.2 Epistemology 17 3.1.3 Methodology 18 3.2 Research methods 18 3.2.1 Participant observation 19 3.2.2 Interview 21 3.2.3 Focus group 21 3.2.4 Social networks 23 3.3 Data analysis process 27 3.4 Ethics and Limitations 28 3.5 Quality evaluation 30 3.5.1 Reliability 30 3.5.2 Validity 31 3.6 Conclusion of Methodology 31 4.0 Theoretical framework 32 4.1 The definition of ‘Dark tourism’: A dirty little secret 32 4.1.1 Demand and Supply 35 4.2 ‘Heritage tourism’ and authenticity 36 4.2.1 ‘Heritage tourism’ 36 4.2.2 Authenticity 38 4.3 The spectrum of ‘Dark tourism’ 40 4.3.1 Dark Camps of Genocide 42 4.3.2 Dark Conflict Sites 42 4.3.3 Dark Shrines 43 4.3.4 Dark Resting Places 43 4.3.5 Dark Dungeons 44 5 Brynn Ida Dan Hull 20141022 4.3.6 Dark Exhibitions 44 4.3.7 Dark Fun Factories 45 4.4 Fear, Fun and ‘Dark tourism’ 45 4.4.1 Feel the Fear … 46 4.4.2 … Experience the Fun 47 4.5 Conclusion of Theoretical framework 48 5.0 Analysis and discussion 49 5.1 Expectation vs. experience 49 5.1.1 The expectation 49 5.1.2 The experience 52 5.1.3 Sub-conclusion 55 5.2 ‘Heritage tourism’ and authenticity 56 5.2.1 ‘Heritage tourism’ 56 5.2.2 Authenticity 57 5.2.3 Sub-conclusion 59 5.3 ‘Dark tourism’ and the Dungeons 59 5.3.1 The spectrum 60 5.3.2 Sub-conclusion 63 5.4 Fear, Fun and ‘Dark Tourism’? 64 5.4.1 Fear… 64 5.4.2 Fun… 65 5.4.3 Sub-conclusion 66 5.5 Conclusion of Analysis and discussion 66 6.0 Conclusion 68 6.1 Conclusion 68 6.2 Limitations 69 6.3 Future research 70 Reference list 71 Appendix list Appendix 1: Observation notes Appendix 2: E-mail answer from the London Dungeon Appendix 3: Interview with Michael Hoogdorp Appendix 4: Focus group interview Appendix 5: Social media: Facebook Appendix 6: Social media: Google Appendix 7: Social media: Trip Advisor 6 Brynn Ida Dan Hull 20141022 1.0 Introduction ’Dark tourism is the act of travel to sites of death, disaster or the seemingly macabre’ (Stone, 2005, p. 109) As the quote indicates, ‘Dark tourism’ is where tourists travel to places with death, disaster or macabre (Stone, 2005). It can also be defined as tourists visiting attractions associated with other unpleasant elements of recent human history, such as former concentrations camps, prisons or battlefields (Hannam & Knox, 2010). ‘Dark tourism’ is an important aspect of tourism, as it can be found in most locations. ‘Dark tourism’ is a growing phenomenon, and it has been growing in the late twentieth and early twenty-first century (ibid.). Theorists have both noticed and attempted to understand the phenomenon ’Dark tourism’ where the fundament of death, disaster and macabre is being handled as a tourism product (Seaton, 1996; Lennon & Foley, 2000; Stone, 2005). Politics, economics, sociologies and technologies are important factors, within ‘Dark tourism’ attractions (Lennon & Foley, 2000). Likewise, Stone (2006, p. 146) argues that ‘Dark tourism’ lies along a ‘… spectrum of intensity’ where it is argued that some attractions are darker than others, depending on the characteristics, perceptions and features. ‘Modern’ tourism includes ideas of universalism, classification and liberal democratic state (Lennon & Foley, 2000). The tourism industry develops aspects of travel, accommodation and attractions, which benefit the experiences in an area (ibid.). Richards (1995) explains that it is impossible to travel to another place without experiencing the areas effects and products. The growth of modern tourism has given travel opportunities and communication; therefore the tourism industry has become global (Hannam & Knox, 2010). In that context Lennon & Foley (2000, p. 9) asks: ‘Can it be surprising that, when the opportunity presents itself to validate that global-local connection that so many decide to visit the sites of these deaths and disaster?’ Therefore, it can be argued if ‘Dark tourism’ exists of the tourists’ motivations to consume these ‘Dark tourism’ products (Stone, 2006). Nevertheless, Lennon & Foley (2000) argues, that the global news show issues regarding death, disaster or macabre on a regular basis, which affects the viewers, as it reflects emotions and traumas, and therefore can motivate the tourists to visit ‘Dark tourism’ attractions. By seeing death on a regular basis, the viewers will 7 Brynn Ida Dan Hull 20141022 have had an experience of the death through replication (ibid.). Furthermore, death offers an opportunity for media to represent death itself, theories, eyewitness testimony, speculations, and ‘expert’ analysis (Lennon & Foley, 2000). Examples of death, which have been represented through the news, are Princess Diana and John F. Kennedy’s deaths. Likewise, fictional characters in movies within different ‘real’ events are being used to consume in which the character expects to die (ibid.). It can be argued, that it is unreasonable to separate the public association with death to tourism experiences (Lennon & Foley, 2000). Most tourism experiences are familiar with unpleasant events, and it can be said that any tourism product will benefit from ‘familiarity’ (ibid.) Likewise, many people will connect to the tourism experience, as they already know it, or want to learn something new (ibid.) Hannam & Knox (2010) argues that ‘Dark tourism’ attractions turn human drama into a tourist product. Nevertheless, many people want to show their respect by making a public show of grief and expressions (ibid).

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