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Seduction and Disenchantment

Heritage 5 Counterheritage
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Fiona Starr Marc Morell, and Jasper Chalcraft

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any inlbrmatton ,tot"g" o""t':i"t'oi Introduction: Of Seduction and Disenchantment:
f'r'om the Pnblishers' An Approach to the Heritage Process
nanlcs nray.be lradcnrarks or
Trtldenlorl nolitl: Procluct or Colporate CAMILA DEL MARMOL, MARC MORELL AND JASPER CHALCRATT
fbr identitic1tion and crplanation
rcgistered traclemarlts, onJut" utt only
\uithout intent m inliinge'

Librurl. Ltf Cortgress Oartrlogirtg-i n-P ublit:ttt ion

Du lo 1 Metaculture and Its Malcontents: World Heritage
Thc making of hclitagc anrl clisenchnturent r edited b' in Southwestern Libya 23
' "i"ttioo
inrllitu i"t Marmol, Marc Morell arrd 'lasper Chalcraft' JASPER CHALCRAFT
puge\ m. tRtrrltletltc 'rutlies in lreritrgc
: R)
ln,ll,,.l.. hihlirrgraplrical relelencc' rltd indr'
I .- pr"rJ,'otio'- Social aspccts 2' Historic pr-es-.erlatlo1.l
Hlrtori. 2 Buddhist Circuits and Worlding Practices in North India 44
e studies.- 3. Historic sitcs Clonsen'ation and-rcstoratloll'
DAWD GEARY
i-'uar,rut. Camila clel tl NltrelL' Marc lll Chalcrafi' Jasper'
clc135.M3ll8 2015
I63.6'9- dc23 3 Seductions and Disenchantments in the
20l403lllt2 Making of an Ecomuseum 59
(hbk)
1S IIN : 978-0-'1 I 5-8'1386-7 CRISTINA GRASSENI
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'lypeset in Sabon
4 Imprisoning Ethnic Heritage in French Guiana:
bY APex CioVantagc. l-l '( i
The Seduction of a Penal Colony 79
BERNARD CHERTJBINI

Indigenous Crafts, Political Re-enchantment and

America bv Publishers Craphics'
Printed ancl bound in the Unitecl States of the Rationale of Heritage Making in Costa Rica 99
LLC on sustainablv sourced paper'
JULIEN LA\ERDURE
u.xx'
MJOIECACET{TRAL
/^r,(. f ;::, Mexico for Sale: The Manipulation of Cultural Heritage
cu5.' - ----!-:-j*..-- for Tourism Purposes: The Case of the Xcaret Night Show 120
:i. ',
11 RAFAI,L GUERRERO-RODRf GTJEZ

.7
Feeding Disenchantment: On the Heritage Intricacies
irl of Cookery Books and the Olive Oil Festival in Malta 1,40
,* I -io*l ' th ELISE BILLIARD
*.*;l10f]*-

6 Mexico for Sale
The Manipulation of Cultural
Heritage for Tourism Purposes:
The Case of the Xcaret Night Show
Rafa el G uerr er o - Ro dr gw e z
INTRODUCTION
Tourism and culture both play a decisive role in the creation of images and
the aestheticisation of landscapes to meet what are supposed to be the needs
of tourists (Richards and Tilson 2006). The use of cultural heritage for tour-
ism and development purposes has increased in the last decades, becoming
a complementary expansion strategy of this economic activity. The contem-
porary massive promotion of images and symbols from different cultures in
countless tourist destinations around the globe provides sufficient evidence
of the implementation of this srrategy. It should not be hard for anyone
to formulate mental associations of cultural manifestations-tangible and
intangible-with their counrries of origin (e.g., the Eiffel tower and France,
the pyramids of Giza and Egypt, Machu Picchu and Peru, the Great 7all
and China, the geisha dance and Japan, flamenco and Spain, Oktoberfest
and Germany, mariachis and Mexico and so on).
The design and commoditisation of cultural identities for tourism
can be understood as the outcome of purposively selecting-and at the
same time disregarding-particular elemenrs and symbols of local cul-
tures with the objective of creating a 'product' ready for its consumption
(Cole 2007; Ryan and Aicken 2005; Xiaobo 2011). It is important ro
note that these 'products' are carefully designed, in particular taking into
account the cultural and ideological profile of those who will gaze upon
them (Urry 2002). However, rhere are other issues behind this phenom-
enon that remain Iargely unexplored due to the profit/commercialisation
logic in which tourism, culture and development seem to be historically
enmeshed. For example, who decides what should be portrayed to visi-
tors?'W'hat cultural elements are underestimated/hidden/avoided and
why? Under what circumstances are cultural elements considered ,authen-
tic'or'fake'? Undoubtedl there are no easy answers. It seems that issues
of heritage management go beyond a mere interest to produce profit and
actually involve a group of political issues as well (see, for example, Breg-
lia 2006). This is crucial to undersranding how 'cultural producrs' havc
gained a special relevance within the international tourism market. 7hat
Mexico for Sale 121
is interesting to know is whether these strategies are accomplishing their
mission not only to attract and seduce its potential consumers) but also
to perpetuate a social framework favourable to the expansion of the tour-
ist industry through the trivialisation and massive commercialisation of
culture.
This chapter presents a discussion about the creation of a "heritag e attrac-
tion" (Poria, Butler and Airey 2003) {or tourist consumption in Mexico.
The case study selected is a renowned spectacle performed in a theme park
called xcarer. This place has been coincidentally favoured by the successful
expansion of the tourist industry in cancun in the last four decades, and it is
considered now as a 'must-see' tourist attraction due to the great marketing
work at national and international levels in the last years.
The structure of the chapter is divided into three main sections. The first
section presents a brief discussion of the relationship between tourism, cul-
ture and development. The second section turns its attention to the Mexican
context, examining the institutional and legal framework regarding its heri-
tage management. The third section describes the case study selected: the
Xcaret night show. I finally conclude that tourist atrractions like Xcaret's
night show are powerful ideological weapons which favour the use of heri-
tage for economic and tourism development purposes.
TOURISM, CULTURE AND DEVELOPMENT
The relationship between tourism, culture and development has recently
gained more attention within both the academic and professional commu-
nities (see, for example, Cole 2008; \7ood et al 1993). The declaration of
the \Yorld Decade for Cwhwral Deuelopment (1988*1997) and the growing
interest of the United Nations Educational, Scientific and Cultural Organisa-
tion (UNESCO) in tourism have played a decisive role in the construction of
this complex relationship. This interest has influenced the national agendas
of several countries by introducing cultural heritage-in tangible and intan-
gible forms-in tourism development proiects.
Since 1,996, when the frst Cwbwre, Towrism and Deuelopment inter-
national seminar was held,1 the existence of an ongoing conflict between
the need to preserve cultural heritage for future generations and the profit
orientation of the tourist industry was identified. The contribution of the
tourist industry to the enrichment-or impoverishment-of cultural heri-
tage seemed unclear. A number of questions started to emerge, such as to
what extent and in which ways does the tourist industry interacr with the
production of cultural identities? 7hat sorts of srrategies are employed by
host communities to preserve their culture? To what extent does tourism
contribute to greater access for locals to participate in tourism-cultural
rrojects? 7hat is the real contribution of tourism-cultural projects to the
irchievement of economic goals within host communities?
 t
, exico for Sale 123
1,22 Rafael Guerrero-Rodrguez
Thereisnodoubtthattherelationshipbetweentourismandculture In an attempt to provide some answers to the former, the next section
examines the particular case of Mexico, describing the way in which this
p."r.rr, a complex panorama, mainly btaost it has been subiected to
tire world has undergone in the last country has defined the management of its cultural heritage. It is important
ih; ;;;f.;"d scial irrrrfo.-tions
ilr'd.* These transformations include a progressive lnove from forms to note that Mexico is recognised as a historical promoter of its cultural
.mass tourism, towards 'post-Fordist' models (see, for example, Hier- heritage for tourism purposes (see, for example, Amaya 2006;Morales and
of
specialised market Mynsk 2004; Telgelberg 2013). This country has been an active member
,ru,r*-i.otus 2003), leadinito the emergence of more
of the international-cultural-developmental organisations mentioned earlier
segmentssuchas'green'and'cultural'tourism'tomentlonlusttwo
and seems to have designed a tourism-cultural framework that fits with
"?pf., (Bianchi tl+; Card,oba and Fuenres 2003; Guerrero-Rodrguez
between the international discourse on cultural heritage management. Understanding
iiO1. cKercher et ;l (2005) describe.how the relationship
been incompat' Mexico helps us to better understand how the relationship between tourism
tourism development and cultural heritage has historically
o., compromised by the commercial and cultural heritage unfolds.
ibl. b.."rrr. .rit.r."l are frequently
nature of the tourist industry. In many cases, tourism
interests rooted in the
.orrtrirt., to trivialise cultural elements and operates against the local
CULTURAL HERITAGE MANAGEMENT
needs of destinations.
the possibility of creat' A MEXICAN APPROACH
Nonetheless, McKercher et al (2005) also mention
be used as an opportunity
ing an alternative route where this relationship can
ultimately' to help According to Jokilehto (2005: 4-5), cultural heritage may be defined as "the
io'..irrrigorute people's interest in history and culture and'
it is important to note that entire corpus of material signs-either artistic or symbolic-handed on by
achieve J.oroi. .u.lopm..tt goals' However'
the past to each culture and, therefore, to the whole of humankind t. . .]
i.r.rp".,ir" of the possibie uisior.s and interpretations of this relationship, it
the travel the cultural heritage gives each particulaf place its recognizable features
i, ,n irr,.rptay beti.e, tourism and culture which has configured (2006)
and lilson and is the storehouse of human experience". In this sense, cultural heri-
consumptn iy.,a-ic, of modern society. As Richards
tage is understood here as any cultural expression-past and present-that
;;i;; ;;,, this lationship is largely responsible for creating the appropriate belongs ro a specific group of people and that distinguishes them from oth-
'"t-orph.r., and producti for the consumption of tourists'
ers. Significantly, it also means that cultural displays like the Xcaret night
Political irrt.ru.ntio., by internatiottul "tott such as UNESCO'
the
rworld Tourism Organisation (UN\ITO), the United Nations Develop' show-regardless of their historical truthfulness-cannot be ignored or dis-
counted as just commodity forms of culture. Such displays, like cinema and
ment Program (UXOp), the International Council on
Monuments and
for the Study of the Pres- other media which represent histories, ethnicities, identities and nations, are
lii., frcolos) and t. I.rt.r.rutional centre (ICCROM) among many as much a kind of cultural heritage as the sites and practices recognised by
ervation and Restoration of Cultural Property
and promotion international institutions like UNESCO. Importantl these kinds of heritage
others, has been notorious, especially in the construction
heritage for the expan' are powerful too, as their use by the tourist industry to develop marketable
of a psitive discourse favouring the use of cultural
of development purpose products aimed to lure visitors into specific territories projects their repre-
slo., of the tourist industry and the achievement
Picard 2006)' Thus' not surpris' sentations widely.
alike (see, for example, Robinson and
,rrrrrg;-..'t discourse has largely permeated the design of The involvement of the Mexican government in the commercialisation
ingl a heritage
organisations' of cultural heritage with tourism purposes can be traced back to the 1930s
loli'to,r.ir*--cultural-agendas in the member states of these
the need to treat any cultural ( see Berger 2006 ; Espin osa 2004 ; Guerrero-Ro dguez 201,2; Merull 2009 ;
..p.or.l"g "nd ..i.rfo".cing ideas-about for l/alton 2OO9). The Mexican government identified a double advantage in
a resource
;;;;;i.;:tangible "nd iltangible-as complementary.
the use of cultural heritage in this specific period: first, to cneate a national
toorirm developLent goals. Th"e central features of this discourse havc
sense of unity and pride in a difficult period of civil unrest;2 and second, to
l.", the one handlthe need to seek out'authentic'cultural elements constfuct a cultural-tourism product that could attract more visitors into
""
irror.rtodisplaythe'value'ofthelocalculture'and'ontheother'thc
the territory and thus alleviate the difficult economic situation of a country
i_p.ar", role of'host communities in the construcrion of products that
in the making. Agrarian revolution and petroleum expropriation were two
couldhelpvisitorstounderstandandappreciatetheseculturaldifferenccs
here is to know to what extent key factors that determined the political economy in Mexico at the time, and
ftrsryudiut 2005). The interesting point countries and what typc in tourism, the Mexican government found a fresh source of funds needed
ihi, dir.or.se has been internalise by associated
bttn for the commoditisation tlf to materialise the modernisation agenda.In addition to the former, the par-
of managem"rr, p.r*.s have adopted
ticipation of the United States in lfforld \X/ar II contributed to the growth
their own culturral heritage.'

I
1,24 Rafael Gwerrero-Rodrgwez Mexico for Sale 125

of tourism in Mexico, given the insecure conditions for travelling

outside
Thus, Mexico's nascent tourism industry gained
the American continenl
visitors all over its
*.rrrr* during the 1940s, receiving more and more its
;;;.,.;, significrl it utilised its cultural heritage as main attraction
capital.3
the end of \X/orld slar II, Mexico continued its commercial
cam-
if,., profits from
prtg;,-;t;.;irtty i" the United States, aiming to increase the
printed mate-
ioriir-. the movie industry and media (radio programs andwere the main
rials such as traditional brchures and newspaper adverts)
.lfrrrrir-, employed for this purpose' Despite. this.great pushinfrom the
Mexican government, tourism itaited -to .reveal a dark side practice
and Tijuana
through te negative ff..,, of uncontrolled growth' Acapulco
.*pl.r. The following fragments of public speeches from
;;t;;?;. and Adolfo L6pez
pr.ri'"rr Adolfo-Ruz Cortines (ARC) \1952-1.958)
i4ur.o. (ALM) (1958-1964) give testimony of this:
we should
have a history like few other nations possess; that is what
'le
showto the world. . .' IARCI
our goal is to provide fo..ign tourisrs with the correct idea of what
our hisiory hu, b...t and what otrf customs are'
7e believe that
towrismshouldnotbebasedontheexploitationofuice,butratheron Pigure 6.1 Example of a tourism advert in the 1950s. Source: Mexican Tourist
Association. A1l reasonable efforts have been made to obtain permissions to use this
aloftierconceptthatleadsustocwlturaltiesandbetterunderstanding
image.
among PeoPles. [ARM]
(FONATUR 1988: 9; my emphasis in italics)

as a-crucial com-
Even so, the promotion of culture was still recognised
p.;;; ;i;.;rism developmenr, since seemed indispensable to helping contributed to lessening the importance of contemporary cultural elements,
.it visitors. Little
consolidate an attractive offe., .specially for international although indigenous heritage still had a central function. Thus, coastal
changed during most of the tsoi and the beginning of the 1_960s; how- images progressively gained space in the adverts, and to some extent, began
would change dramatically to eclipse the cultural contents.
;;;;;'rh" uirio and intervention of the state
in terms of tourism development a few years later' In the late 1960s' the Since then, the Mexican government has attempted to reverse this percep-
Mexican government .rput d"d its functions from being a mere tourism tion of just being a swn, sand and sea destination and paid more attention
and coor- to the promotion of culture and alternative forms of tourism development,
f.ornor.rio assuming " i'id.t tolt in terms of planning' finance
This change also influenced the use of such as ecotourism, rural tourism and more recentl adventure tourism'
i"r,G ,n. growth Jt rnir industry. of tradi-
.,rltrruih..ig. fo. tourism purposes, moving it from the centre Subsequentl during the 1990s and 2000s, a number of cultural-tourism
tional marketing campaigns nd-turning it into a complementary programmes have had the opportunity to emerge: e.g., Corazn de Mxico,
element
(see Figures 6.1, and 6.2). Ciudades and Pweblos Mgicos, Mundo Maya, Tesoros Coloniales and so
'"-inlrrug. led to the construction and consolidation of state-planned
tour' on. This responded not only to a need to change the perception of being
ist destinatlons (see Castillo 2005; Clancy 2OO1'; Arnaz
andDachary 1'994i a monotonous destination in the mind of tourists, but also to adapt the
L 9 9 2 ; Molina national tourism product according to the prevailing circumstances of an
Guerrero - Ro dr guez 20 1. 0 a ; Hiernaux-Nicolas 1 9 8 9 ; limnez
io,ol undcont;buted to reconfiguring the tourism imaginary of this coun- international market where cultural heritage has gained notoriety and is
destinations such as Cancun, now considered a crucial competitiveness component. However, consider-
,ry. ih. explosive growth of state-planned
helped to build perception that ing the evidence so far, these strategies have had very modest outcomes
iJop, ,,,iLo, Cu'o, during .he 1'970-s a.
Tlrc
Mexico,s offer was.o-por.J-ainly of sun, sand and sea destinations. if compared with those reported for coastal destinations (see Guerrero-
,nif, fro* rural to beaoiif.rl natural landscapes in promotional campaigns Rodrguez 2010b).
L26 Rafael Gwerrero-Rodrguez Mexico for Sale 127

Iwstitutlnns ffielxtsd with Sultur* and

Tnurism Managrsnsnt
II
lntrrn.)tionJl "
lati*nal
il
x
S"$Sl lS1N( ..
$i\#iilffiffi$ "
il
il
lt

ll
iecMs rr

il

ffifit[ ffiffi
lt

l
il

Figure 6.3 Adapted from: Mexican Institutional Framework for Tourism and Cul-
tural Heritage Management SECTUR (2010).

According to the Mexican Tourism Ministry (SECTUR), the national

Figure 6.2 Erample of 1 tourisrn aclvert in the 1970s. Source: NIexictrl [otrli'.t
Associatiou. Al1 reasonable efforts have bcen mrde to obtain pelmissions t<> ttst'tlrr',
inrage.
objective in terms of cultural heritage management is "to generate profit
from forms of cultural expression to further social and economic develop-
ment" (SECTUR 2010). Cultural tourism is defined as "any travel with
tourism purposes motivated by the want to know, understand and enjoy the
group of distinctive elements-spiritual, material, intellectual and affective-
that characterise a society or social group within a destination" (SECTUR
2010; my translation). The institutional framework whereby tourism and
cultural heritage is managed by the Mexican government is summarised in
Figure 6.3.
This figure portrays a complex landscape of institutional concurrence
suggesting an operational challenge. Three main categories can be identified:
1) a group of institutions with an interest in tourism from the perspective of
culture and heritage (those in dark grey); 2) a group of institutions that have
an interest in culture and heritage from the perspective of tourism devel-
opment (those in a mid-grey) and; 3) a group of institutions that have an
interest in the development of both (those in a light grey). Finally, two scales
of influence can be appreciated in this figure: one that corresponds to the
national competence and the other that cleals with the international sphere.
128 Rafael Guerrero-Rodrgwez Mexico for Sale 129
I

This figure neatly illustrates the complex political and administrative profits derived from the sale of attractive products, irrespective of whether
machinerf tourism and cultural heritage have to coexist with in
Mexico. they possess a cultural component or not.
It is important ro note that the legal framework developed by this coun- One of the cases that exemplifies the existence of this paradox in Mexico
try i, bur.d mainly on internationl irrrtrrtttents such as UNESCO's 1,972 is the thematic park Xcaret. This is a privately managed tourist park in
oih.. domestic legal instruments such as the Federal Law which cultural heritage is one of its main attractions. To help demonstrate
Ctnvention a.,d
of Historical, Archaeologica, and Artistic Monuments (1972)' the INAH the paradox described earlier, I give some detail on a night show called
R.grlatio., oi Historical ites (1993), the Organic Law of the_ Natioal
Insti- Mxico Espectacular in order to discuss how different elements of the
and History (1985), the regulation of the Archaeology
t,rti of Anthropology'General Mexican heritage are carefully selected and packaged for tourist consump-
council (1,994),the Law of National Assets (1994) and the General tion by the private sector without any state supervision or control over the
Law of .olog.ul Equilibrium and Protection of the Natural Environment representations of the nation and its component ethnic groups. Ultimatel
(1.ee6) (SECTUR 2010). this example illustrates how the private sector is using cultural heritage to
' the chal-
under this administrarive and legal umbrella, Mexico has faced accomplish its commercial goals.
lenge to manage 32 propertiesa regnised as "'7orld Heritage
sites" and,
d"r"pit. the grJat .orrfrrio., created by the duplicity of functions and the
Ut,rtt. lurir.up" of attributions, UNESCO ranks it as number six on a XCARET NIGHT SHOW: MXICO ESPECTACULAR
lo.tdwide scalJ, makingit "a leader in terms of its cultural, _natural
and
mixed landmarks that irarrant international recognition".5 Nevertheless, One of the most well-known and emblematic destinations in contemporary
this international recognition has not helped to create an appropriately Mexico is Cancun, Iocated in southeastern Mexico on the Yucatn Penin-
coordinated environmt among these entities; consequently,
any tourism- sula (see Figure 6.4). The construction of Cancun took place in the early
and the field has been left 1970s, and it started to operate formally n 1,97 5 . Since then, this destination
cultural endeavour is a big challenge in practice,
open to the private ,..,o.}hi, situation is thoroughly described by Breglia has grown exponentially, now receiving more than four million visitors per
(iOOe),who explains how poor state coordination in heritage management year and being the recipient of almost one-third of the total international
i, l.rdrrg the piivate sectoi to take advantage of this omission, and there- visitors travelling to the country (FONAIUR 2005, 2007).
fore, to "ke profitable business out of culture' Over the last few years, the area surrounding Cancun has also reported
o.rl., and Mysyk (2004) menrion that the main focus of the Mexican explosive growth, becoming a complex demographic phenomenon that has
tourism policy i. i.i-r of cultural heritage management historically has given birth to the macro-destination known as the Rivier a Maya. This area
been the g..r.irtio, of profits from the various forms of
cultural expressions' covers a 160-km coastal strip from the locality of Puerto Morelos, passing
of national developmental Playa del Carmen and Puerto Aventuras and finishing in the town of Tulwm
i"rrifyi"S"nr commodiiisation for the realisation
(see Figure 6.4).The main feature of this touristic corridor is the existence
oU..riu. Thus, it is not surprising that the private sector_has progressively
aduarrced operaring in line with the neoliberal agenda followed
in Mexico of a significant number of large, secluded, all-inclusive resorts accompa-
,i.,.. rtr. fggO, (HU.r et al2008). The functions of the state were simply nied by an important number of theme and adventure entertainment parks,
reduced to the certification of particular aspects of cultural heritage, and among which is Xcaret. Not only does this park have a very convenient
i.f p"bli.lre cultural products for tourism without questioning the means location-10 km away from the busy town of Playa del Carmen-but it has
o. fi..,, of their p.ou.tion. Considering the former, it can be said that also gained recognition as one of the 'not-to-miss' tourist attractions within
Mexico has progrssively entered and fully participated i1 t1$t Richards the region, due to its consolidation over the years and to the great influx
and Wilson iZOe, 122i) denominate "the processes of_glo.balisation
and of tourists: an average of 1"5,L66 visitors per year between 2005 and 201.0
symbolic comperition", where the serial reproduction of cultural elements (Checa-Artasu 2012: 8 1 ).
icommoditisation' of the tourism-cultural product. It is important to mention that despite the great planning framework in
has led to the
It is evident that there are many gaps in heritage management that can' which Cancun was brought to life, the social and economic conditions in this
not be covered in full by the Mexican government. Instead, these gaps have_ territory did not match the progress of tourist development. Uncontrolled
been filled by the p.iute sector fully participating in_ the construction
of growth in tourist activities led to the emergence of common problems within
the Mexican tourism cultural product. This situation has created a practi' destinations, such as land ownership disputes, the proliferation of shanty-
cal paradox since private ,.rd itate interests operate in different directions. towns, a rise of crime rates and illegal activities, the resettling of multiple
The main objective of the state should be to preserve the cultural heritage communities due to construction proiects, increase of living prices and infla-
for future geerations; in contrast, the private sector seeks to maximise the tion rates and so on. This situation reaffirms that benefits are not equally
 l
Mexico for Sale 1.31
130 Rafael Gwerrero-Rodrgwez
The particular features contained within the show Mxico Espectacular
are described on Xcaret's website as follows:

Prepare to travel to Mexico's past and enjoy a magical experience for

the five senses! Night after night at Xcaret Mexico, the majestic Gran
Tlachco stage receives 260 artists for this one of a kind celebration of
the best traditions, bistory and mysticism of Mexico [' . .] The most
renowned celebration in Mexico begins with a journey through space
and time that takes you to pre-Hispanic Mexico where you will be
\ *Y
witness to an exciting interpretation of Mexico's ancient Ball Game.
rf
I Mexico's pre-Hispanic instruments, magnificent costumes and the
EXICO I voices of Mayan children from Mexico represent the respectful relation-
I
\ ship between humans and nature in ancient Mexico. Next you will be
moved by a touchin g representation of the Conquest of Mexico and the
,,,ffi,, ffiT
dr.
\.*
\
encounter of two races, an episode that changed tbe history of Mexico
\\ forever [. . .] After a brief intermission you will be overwhelmed by the
variety and richness of the regional dances of Mexico: be amazed by
Mexico's embroidered costumes, music and rhythms that fill the air: the
zapateo) the love stories, the joy of Mexico's mariachis and the audacity
of Mexico's charros on horses exhibiting their skills [. . .] This wonder-
('ancttn' arld Rivierr 'N{ava' Sourcc: ful tour around contemporary Mexico represents the essence and diuer-
6.4 Geograpl-rical location of Xc:Lret'
sity of Mexico's people, who dream, pla laugh, cr dance and sing to
Pigure
Author's elaboration'
the rhythm of Mexico's history.
(my emphasis in italics)7

rnd it leads us to continuouslt This information reveals crucial aspects of the performance concerning
clistributecl am()ng all rnembers of societY' not only its content, but also some of the discursive instruments employed
be considered a developmental str ategy ()r
qr.rri.* whetherlourism should to seduce its visitors. The central element is the promised combination of
rhis c..rext of differential devel.1.'
not (Guerrer,r_pn,l.ig*.' ioizl.It is in Mexican 'traditions' and 'history' in a single show. It is explained that this
n-ient that tourism f,-t,lntt"' like
Xcaret have flourished' tal<ing advanta!'('
within the territory' show is an exciting version of the history of Mexico over the last 600 years,
;i;h" ;;;r, cultural ancl natural resources on the companv's website, Xcart t describing how visitors will be able to see how the indigenous cultures used
Accorcling t,, the inicrrn.lation contained
..n *orii. uniclue activitit's. to understand the world before the Spanish conquest. The show focuses on
is clescribecl fnrr. by the.sea thar features the Mayan culture (related to the region), and it is portrayed as pristine,
", the ndtural and cultural richness t'l
wlrere yiru have f.r" ;L,ij. r.nu.ri,-,g
I

clesign and orientation of thi' supposedly demonstrating an intrinsic harmony and understanding between
Mexico" (*y.*pL"'iti-1" 'f''t "n"'.tht them and their natural environment. Flowever, as Checa-Artasu (2009)
then-re park were at attracting visitors ir-iterested in envir<lnmelll'rl
points out, this performance should be understood by taking into account
l

"i".; cultural s),mbols. The entt

conservation anci the ,fp...i"rinn .f-Mexica.
r

o[ activities that can be practist'l its market orientation; that is, as an artificial construction where stereotypes
tainment on offer.onrir,, of a number divirrr"' play a key role in composing an'authentic' product.
durir-rg the ,".h ;'t;;;tkelling' swimming rvith clo.lphins' scuba
c1a1',
The history of the conquest of Mexico is included in the show as well, treat-
endangered spccies srr. l'
the observatio, trf tu.ut ftt"ra ancl i"o-itlcl'ding rlpp|.c(r.r ing it as a cultural 'encounter' and carefully avoiding the use of any positive
weil as the visurl
as flamingos, marinei"r,i., ancl monl<eys-as or negative adjectives to describe the occurrence of this event. The attempt to
heritage through a nuntle. r'l
tion of what is p..r.ni. n, Mexican c.rliural .f pre-LIis':rrrr' hide any past conflict in heritage attractions such as this is described by Hall
;;i,;;;"r;:., .*t-,,tl,ions. These irrclude rhe re-creation (1994) as a 'sanitisation' process. This includes the elaboration of a 'safe'
.].r.trtia', tllowt. g,tliJeJ visitt t, Jll 'tl'Lll:lL('lt't-r' 'rl
",.,a
.[.1r..,., .rntl ritrr;rls.
lrld l.cal at-t clisplals 'trt'l' social and political reality which does not lead the tourist to question (Hall
,r()'.r.rc.t lrctccl *}-'i,,, ,1,. 1-,.,r1., ,rrr.lierrrfts 1994 179). Rather, the cultural and political transition is portrayed instead
,,ltir,,rt,,,lr,, rr rriqltt 1.,', 1,,r,,',,,Ir..'irlllctl lv{i'xic. lrsPcct:tcttl:tr"
 t

Mexico for Sale 133

132 Rafael Guerrero-Rodrgwez
the derivery of any_qualifying statement, in this section is that the way in which this show is presented does matter,
as a mere factor of change, avoiding
focuses on delivering a version of as the purpose of the show is not only to inform its visitors about the local
It is importan, ,o -"n,i thut thJ show
disregarding important elements of the cultural heritage, but also-and perhaps more importantly-to reinforce a
Mexican history ,, ,t . ,ro"al level,
local context, such u, tt . ,o.lut ,t..rigl", J Muyutt people to maintain their market-driven ideology that underpins tourism development globally nowa-
the includes the independence days. I claim that the show is deliberately helping to spread an ideological
,..tri.tyl" ir.r.rrt H,'itul pttioJ'l former
the constant battle hetween framework that appears to be embedded in modernity and consumerism,
of the territo.y ao.ing tl''e nieteenth century'
of natural resources llke henequen values that favour the commoditisation of culture and the expansion of a
outsiders and Mayans, the exploitation
and so on' These exam- neoliberal agenda through tourism.
[t"t.l and chicozapot. by chewing-gom.companies purposively ignored, and Checa-Artasu (2009: 46) points out that the show clearly responds to
irfE, "-""r,.rr. fro*
..ri" .inadequate'
pi.. f history are
and unnecessary for visitors. heritage and tourism management trends by adjusting its contents accord-
in commercial eyes, considere is treatecl
event ing to the economic, political and ideological needs of both its creators and
It is importa"t r" t.ii"ti tt"nt -'yin which the conquest
armed conflict is briefly staged' visitors. It is important to mention that Xcaret forms part of a powerful
and displayed to the urdi."tt' Although an
avoids pr.r",,,i"g any conteni that can be interpreted as a polemic business group in the area that is focused on the creation of entertainment
it clearly
processes in the coloni- and leisure experiences. Indeed, cultural expressions have proven to be a
on the cultural, politi.'ii"d ideological transition
section of the show focuses successful component of the product and have led this group to select what
sation of the M.*i.r.t tt'ritory' Iniead' this
sequels of this it thinks visitors want to see. The Xcaret group claims that all portrayal
artention on the,.1.;h;;; by religion in.alleviating'the
through faith conversion' offerings in the park (performances, guided tours and so on) have passed a
conflict
-- there is a 1'5-minute certification and consultation process with national-level institutions such as
fotto,ri.rg Ih. dr"muti'ation of the conquest event'
in two ways: on the one the INAH and CONACULIA,e just to mention two examples. However, to
m.".. Tis short break can be interpreted here to relax after the intense date, no evidence has been provided by the park to sustain this argument.l0
hand, it appears as an opportunity for ihe visitors
first half of the ,no*, "d, on tire other' it becomes
a useful distracting Shows such as Mxico Espectacular can be considered heritage attractions
episodes of Mexico. are com- even though they do not possess any official recognition from government
,',oot .r....r, since the .orrili.trul historical
pletely omitted. e-o.tg *th episodes we find
iht 300-yt" colonial period' or recognised cultural bodies. A heritage attraction is understood here as
the independ"rr.. p.o.3", it'" ittti'otial
conflicts with the United States and any tangible and intangible resource that is related with the natural or cul-
France during ,n. tt""'y and the Mexican Revolution in the tural heritage and that is used for tourism (see Poria, Butler and Airey 2003
"i"titl"ih due to the confrontational for a detailed discussion of the concept). It is important to mention that in
first quarter of the twentieth century' Presumably
becomes, once again, a true Mexico, these types of attractions are not supervised by the state or sub-
nature of different interpretations, the show
poitit'l position in its attempts to avoid a jected to any process of authenticity. Of course, it is not my intention to
,p".o.r. y clearly ;;;;; ' suggest that cultural-tourism shows produced and performed by the pri-
oosition of a completely different sign'
"";'it"rt ;;;;'"i t" ,ho* coniain, a sroup of mixed performances, vate sector must be scrutinised to pass the requirements of a supposed and
including dances, -"J "" horse riding' thttt
elements are considered administered 'authenticity'. Such a task would likely be rather polemical
Mexico' ?.erha.n; the most and subject to endless interpretations. However, it is important to note the
relevant within the customs of contemporary showl
quote provides',"[this ideological power that such shows possess, a power over representations of
revealing sentence i, tht o"t the following
people"' Such a statement the past that influences not only tourists, but also performers and locals.
,.pr.r.n"r, the essence and diversity of Mexico's
that is, to present a show that Likewise, it is important to recognise their potential to become political
embodies the real aspiration of its creators,
a most peculiar version of what instruments that pave the way towards the manipulation of cultural identity.
can entertain but arso educate visitors on
carefully constructed, presentin8 According to Poria and Ashworth (2009), in order to get the neces-
Mexican history i, uboot. The identity is
.friendly,-""d p";h;;; servile-veriion of Mexican culture that contrib' sary appearance of a cultural product for tourism consumption purposes,
a
Mexico is a country that promotes attractions like Mxico Espectacular still have to pass an informal process
utes to reinforcing the perception that
nations.'Therefore' the of authentication they call 'heritagisation'. The 'heritagisation process' is
values of peace, g.;;ii;" understanding among
metting by using the.display o-f a described by them as "a social process whose final outcome is the presenta-
last act includes , ty*f* lnternational
environment of nonconflict tion and interpretation of heritage [. . .] [It] is a process in which heritage
number of national nrg, ,rrri simulate a global
is used as a resource to achieve certain social goals t. . .] tk] usually refers
and mutual understanding'8
strategies employecl to the conversion of cultural resources and their mass customatisation into
The informa,l"" p..r."",ed describes the discursive
of init show to seduce its audience' The main argument globalised products t. . .l tk isl not about the past but abourt the urse (and
by;;;;;;";;tt
 vl
j
L34 Rafael Gwerrero-Rodrguez Mexico for Sale 135
public"
abuse) of the past to educare-and at the same time inculcate-the intervention of different actors-state and/or private sector-in the creation
(Poria and Ashworth 2009t 523). of a cultural product appropriate to the ideological system of their visitors
In Mexico, we can clearly see how the relationship between the symbolic (Goulding and Domic 2009).
actu'
constructions of heritage atiractions such as Mxico Espectacular can The increasing emergence of heritage attractions such as Mxico Espe-
ally help to build certain ideological frameworks. This is achieved through ctacular in recent years evidences the complex nature of the contemporary
th .o.rrt.,r.tion ofparticular veriions of the past, deliberately selecting
those tourist industr one that encourages more participation in what Azeredo
;;;rhr, elemenrs to be displayed to visitors and evade-or hide-those ele- (2002) has called a "pragmatic cultural production", one related to the
a threat for the acceptance and profits use-and abuse-of local cultural symbols ro produce credible illusions
-*r, f the past that mighi ,.pr.r.rrt
important factor in the 'heritagisation' process of authenticity with the aim of satisfying the cultural desires-artained or
of these attraltions. The most
that Poria and Ashworth (2009) describe is the fact that the general
public not-of travellers around the globe.
authentic, even if some 'fake' elements are
-ort p.r..ire the experience as purpose. This certainly seems to be the case
used ftr the achievement of that
for the show Mxico Espectacular. The creators of this show have manipu- CONCLUSION
lated certain elements oflh. historical past of Mexico with the
main purpose
of creating an acceptable version for tourism consumption. This process Tourism is a product of capitalist society and cannot be understood without
involves te afignment of cultural heritage products with the agenda
of inter' reference to it (Hall 1994: 192): irs inreresrs are closely linked with the pri-
national tourism institutions such as UNrTO, where growth and profit are vate sector. This chapter has discussed the management of cultural heritage
th. *ul" goals. In other words, cultural heritage is progressively adapted : for tourism purposes with reference to the case of Mexico. Although it is
the hegem-onic values of global governance_based on neoliberal principles. clear that the relationship between tourism, cultural heritage and develop-
To the alignment with the values of international institutions,
llrrt.ut. ment is seen as naturally incompatible, there are some voices that claim the
Mxico Espectacular exalts the pre-Hispanic past of Mexico by
presenting latter can be reversed (e.g., Timothy 2011). However, the supporters of this
a romanti;sed version of Mayan culture being deeply connected with thc idea do not clarify in which circumstances these three elements can develop
natural environment. This ,".iio, of the show helps to deliver a political a synergistic relationship.
message to the spectators about the importance of a global environmental The case presented here was valuable in aiding the understanding of
sup' how this relationship actually works. The night show performed at Xcaret,
ug..rd, clearly ssociated with the goals of sustainable development
Nations, among many others. Mxico Espectacular, is an example of the creation of a 'heritage attraction'
;r;J ty influential actors such as the United
i4o..our, the pre-Hispanic performances such as the ball-game seem to be that has the ambitious objective of portraying the 'essence' and 'diversity'
designed t"ki"g into consideiation the norms and values system of the target of the Mexican culture. I have shown that the institutional and legal frame-
urrdl.r.., maiily composed of nationals and foreign visitors coming from work developed by the Mexican government does not help to clearly define
: United States (see Checa-Artasu 2008: 55)'
the the degree of intervention of the state in the management and marketing of
Th; practices of f.irrr. and entertainment are observed and linked to cultural heritage.
the symtols of modern societies and the cultural reproduction of As discussed in thii chapter, the Mexican government's efforts have been
its raison
d,etr'e. ]Hall (1994: 193) points out that the dominant ideology of leisure rnainly reduced to rhe simple certification and authentication of tangible
and tourism in \Testern capitalist societies has been exported throughout cultural manifestations (monuments, sculptures, archaeological sites, etc.)
thc
world through the dynamics of modernisation, where leisure_ and tourisnt leaving intangible cultural expressions and derived products to the abso-
politicaI
are portraye ,, ,.tiiti.s constituted on individual freedom from lute discretion of its creators. There is no doubt that the neoliberal process
.orrr.qo..r..s. In this sense, these representations achieve their objective nlt in which Mexico has been enmeshed in the last three decades largely con-
o.rly t entertain and .reaie .-puthy between the visitors' values and thc tributed to consolidate the current scenario. '7hat is important to note,
host cultr.., but also to disseminate the current ideological order of the however, is the relevance acquired by the private sector in cultural heritage
tourist industrY. management preventing a full discussion of how the discretion for the cre-
The value of heritage attractions iuch as Mxico Espectacular have beell rrtion of cultural-tourism products is used, what moral and ethical limits are
identified worldwide o hur" the potential to control the production ancl considered-if any-and, more importantl what interests are behind the
consumption of a 'tourist gaze' (IJtry 2OOZ)' shaping the preferences of trav" cxercise of this discretion.
ellers, and adjusting the destinations to meet the tourism industry's
agencln, Throughout this chapter, I have explained that Xcaret's spectacle was
Furthermore, it is ielieved that heritage attractions help to legitimise thr carefully designed to appear as an authentic and credible version of Mexican
 tt
I
Mexico for Sale 137
1.36 Rafael Guerrero-Rodrguez
of its target audience' The pro- announces-two-new-Mexican-sites-on-UNESCO-7orld-Heritage-list>.
history for the entertainment and education
ducers of this ,t o* ti"ntti tt'ponatng to the market forces' irrespective 6.
112t08t20101.
'XCARET, Cancun's most amazing eco park'. Available from: <wwwxcaret.
"t t"i*l"f nititagtlTht content of this show and the coml> 130107120101.
of the use and abuse "f
matier because the show becomes a pow- 'XCARET, Cancun's most amazing eco park'. Available from: <www.xcaret.
manner in which it i' pttt"ttd do
7.
interests-local and external-within
erful ideologi.rl *tupo" l-pl'"ti'g
coml> 1301071201.0).
ancl cultural agendas' The ideological 8. ofthis show can be found on the Internet. Its full version is avail-
Several videos
the political, ..oro*it]t""i'"tflf able at http://wwwyoutube.com/watch?v=wpSu2 zaolT Q.
clearly to romanticise the past
function of the show ;i;;E;;ectacurar.is 9. Instituto Nacional de Antropologa e Historia (INAH) and Consejo Nacional
social-and political reality. of tourism;
and to help to r.g"l*itt'ti" t#"t" parala Cultura y 1as Artes (CONACULIA).
ualres of cultural appropriation for com- 10. This claim was made to me via e-mail by the public reiations representative of
that is, the disseminr;;;i;lr;al
of the svmbols of the past to educate the park in 2010. In response, I formally requested the supporting information.
mercial purposes. Tht;;"dy%; iht "t the symbolic
to.loidut. those aspects concerned with
To date, there has been no reply.
visitors should serve
constructions of cultural identities'
has been to foreground the political
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