Abstract
The resurgence of Māori culture in the last two decades has led to demands for Māori control over tourism development and the use of cultural artefacts and images in promotion (Keelan, 1996). This study examines how the vestiges of past colonial constructs remain entrenched within society (albeit often in subtler forms or different institutions) by examining promotional tourism images of Māori. It also looks at how Māori tourism operators are contemporising their products to meet market demands and thus (re)presenting their image as one of a ‘living culture’.
There is currently a strong move within New Zealand tourism to promote our ‘unique’ indigenous Māori culture. Such an initiative to incorporate the indigenous culture within parameters of promotion and marketing obviously raises the question ‘who represents whom?’ and asks how such representation occurs in regard to cultural integrity. Cultural tourism was specifically identified in the New Zealand Tourist Strategy (NZTS) 2010 (NZT, 2001) as a sector ‘requiring further development in order to maximise its potential’. Amongst the stated objectives of the strategy was to ‘ensure Māori participate and are partners in the tourism sector and that Māori culture and identity is protected’.
It has been stated that ‘control, not wealth are at the heart of Māori tourism’ (Keelan, 1996). The right of Māori to have control over their resources, culture, social and economic being is an integral factor to the growth of New Zealand tourism.
This paper represents a portion of a wider research focus that examines both national and regional tourism structures in order to identify points of difference that might assist the development of Māori tourism. It seeks to discover if a national or regional (tribal) identity is an inherent feature of current New Zealand tourism promotion, and if Māori themselves believe the success of their tourism image is based upon such a distinction.
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