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This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Baldwin, Deborah Title: Experiencing heritage : making sense of industrial heritage tourism. General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Experiencing Heritage: Making Sense of Industrial Heritage Tourism by Deborah Baldwin A thesis submitted to the University of Bristol, through Cheltenham and Gloucester College of Higher Education, in accordancewith the requirementsof the degreeof Doctor of Philosophy, in the Faculty of Social Sciences,Department of Geography, September, 1999. Abstract The study connects two current debates in geography, on the politics of representation(the `cultural turn') and the production and consumption of heritage. The thesis arguesthat, at present,heritage discourse is in a state of polarised suspension,in need of advancement. There has been a neglect of the voices of those who work within the heritage `industry' (those who write museum `texts') and of those who are receptive to these representations of the past. In recognition of such absences,the thesis lends empirical weight, via a qualitative study, to those who seek to challenge the polarity of heritage discourse. Moreover, the thesis unpacks the mediated matureof representationsof times past through an examination of three perceived `basesto authenticity' where `truth' is said to reside: the built environment, oral history and expert history. The contours of this mediation are drawn out to illustrate how representationsof the past are social and cultural constructs. Advancing an understanding of the complexities inherent in the writing and reading of representations of the past, I reject traditional `consumption' theories, arguing that they are too simplistic to unpack the contours of the producer/consumer relationship. Instead I draw on Becker's (1982) model of the `art world'. I argue and demonstrate that `cultural conventions' are operating within museumsand heritage themed attractions which guide and shape the construction of meaning in the process of experiencing heritage. For M. and J. Baldwin I would like to thank Dr Caroline Mills, Professor Peter Jackson and Mr Andrew Charlesworth for all their help and advice during the course of this study. Author's Declaration The work contained in this thesis is a product of the author's own work and is not the result of anything done in collaboration. The views expressedin the thesis are those of the author and do not represent the views of Cheltenham & Gloucester College of Higher Education, or the University of Bristol. / Signed: ej aVý Date: 17/1 00 Table of Contents and List of Tables and Illustrative Material Chapter 1: Introduction 1 1.1 Introduction to the study 1 1.2 Overview of the empirical study 2 1.3 Summary of the argument 2 1.4 Summary 5 Chapter 2: Conceptual framework 8 2.1 Introduction 8 2.2 Heritage in suspension 8 2.3 A polarised debate 17 i. Heritage as the cure 18 ii. Heritage as the cause 26 2.4 Conceptualisingthe production and consumption of heritage 31 i. Culture and heritage 32 2.5 Deconstructing representation 36 2.6 The `crisis' of representation 37 2.7 Summary 41 Chapter 3: Methodology 43 3.1 Introduction 43 3.2 Researchin heritage sites 44 3.3 Choice of case study sites 47 3.4 Production and consumption profiles of each site 51 3.5 Overviewof the field researchconducted 54 i. Visitor survey: design and implementation 54 ii. Qualitative methods 59 iii. Focus groups 64 iv. Participant observation 67 3.6 Justification of the qualitative methods chosen 70 3.7 Data analysisand organisation 76 Chapter 4: Museum as ethnography 77 4.1 Introduction 77 4.2 Gateways to the past I: the built environment 78 4.3 Gateways to the past II: oral history 89 4.4 Gateways to the past III: expert history 102 4.5 Summary 107 Chapter 5: Constructing plausible stories 108 5.1 Introduction 108 5.2 Two `texts': the print shop experienceand school workshops 109 i. The print shop experience 109 ii. School children's workshops 111 5.3 Authenticity, `truth' and plausible stories 112 5.4 Producing plausible stories 118 5.5 `There's a lot of front': performative strategies 137 5.6 Summary 145 Chapter 6: Making sense of consuming the past 146 6.1 Introduction 146 6.2 Are visitors duped? 147 6.3 Museum as `art world' 157 6.4 Making senseof the writing and reception of heritage: `conventions' as tropes 161 i. Museums as `activity spaces' 161 ii. Museums as spacesfor `social interaction' 164 iii. Museums and `identity' 169 iv. Museums and `learning' 174 v. Museums and `performance' 182 6.5 Summary 191 Chapter 7: Conclusion 193 Bibliography: 197 Abbreviations: MLL Museum of Liverpool Life NMGM National Museums and Galleries on Merseyside QBM Quarry Bank Mill WP Wigan Pier Appendices: 203 I Table of heritage sites visited (August 1994) 203 II Pilot visitor survey 204 III Amended visitor survey 208 IV Printing demonstrator interview transcript 211 V Notice placedin education`bulletin' 221 VI Market research `feedback' sessionfield notes 222 VII Printing demonstration survey 226 Photographs: 3.1 The Museum of Liverpool Life, Albert Dock, Liverpool 52 3.2 Wigan Pier Heritage Centre, Wigan 52 5.1 The printing workshop display, Museum of Liverpool Life 110 5.2 The Albion Printing Press,Museum of Liverpool Life 110 6.1 Visitor/Demonstrator interaction, Printing Gallery, Museum of Liverpool Life 188 Chapter 1: Introduction `...within written works an author's intentions and the meaning of the text often ceaseto the text its (Barnes Duncan, 1992: 6). coincide ... escapes author' and 1.1 Introduction to the study Barnesand Duncanuse an expandedview of `text' (to include various `cultural productions such as paintings, maps and landscapes,as well as social, economic and political institutions' (1992: 5)) to unpack contemporary concerns in geography regarding the politics of representation. In particular, Barnes and Duncan highlight the tension that exists between representation (the writing of the text) and reception (the reading of the text): the meaning constructed in representation is not necessarilythe same meaning received or interpreted by the audience. In other words, meaning is produced by the reader, not the writer. In this study, I demonstrate how such a `tension' is also an issue for museums and heritage themed attractions. As socio-cultural institutions containing heritage landscapes,these `sites of representation' (Duncan, 1993) produce writings of times past for public consumption (or `reading'). Furthermore, commentators on this relationship (the so-called `heritage debate') cast the authors of such `texts' as merely producing bogus, inauthentic representations; those who read (consume) such texts are viewed as gullible, deluded and passive victims. However, such criticisms sound hollow when it is apparent that they lack substantiating empirical evidence, as Urry (1996) has recently noted, little is known of visitors `use and response'to theserepresentations of times past. By drawing on key aspectsof Barnes and Duncan's (1992) portrayal of the problems 1 of representation, in particular, the assertion that `authors' cannot control or influence the reading of their `texts', I investigate, through a qualitative study, the representation and reception of heritage. I examine those who are involved in the production of representationsof bygonetimes and evaluatevisitor responsesto such representations. Moreover, I consider how visitors (as consumers) are also producers, as it is in the process of reading museum `texts' where meaning is constructed. By accessing these voices, the dimensions that shape the experiencing of heritage are unpacked, revealing the way(s) these representations are experiencedand at the sametime movingheritage discourse forward. 1.2 Overview of the empirical study The research has used the Museum of Liverpool Life (MLL) at the Albert Dock, Liverpool; Wigan Pier (WP), Wigan; and Quarry Bank Mill (QBM), Styal, Cheshire as case study sites. Investigating the production and consumption of heritagehas requiredan examinationof both the constructionof museum`texts' (how they arewritten) and the experiencingof such`texts' (how they are readby the audience). As such a variety of qualitative research methods have been undertaken in this study (see Chapter 3 for full details) including in-depth interviews, focus groups,
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