另類英國酒吧觀光：CAMRA旅遊導覽書的研究

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(1)國立台灣師範大學國際與社會科學學院歐洲文化與觀光研究所碩士論文 Graduate Institute of European Cultures and Tourism College of International Studies and Social Science. National Taiwan Normal University Master Thesis. 另類英國酒吧觀光：CAMRA旅遊導覽書的研究 Alternative British Pub Tourism: An Analysis of CAMRA’s Guidebooks 林芛 Wei Lin 指導教授：賴嘉玲博士 Dr. Chia-Ling Lai. 中華民國ㄧ 0 四年八月 AUGUST 2015. .

(2) Acknowledgement Looking back the past three years, it’s amazing how time flies and how things have worked out the way they were expected to be. Life is about making choices and not regretting of what you choose. I love my choice, and I’m glad it has taken me to where I am today. There are some people that I would like to thank, who have made this thesis possible and an unforgettable experience for me. Foremost, I would like to express my sincere gratitude to my advisor Prof. Chia Ling, for the continuous advice and support throughout the course of research. Her patience, enthusiasm and immense knowledge have guided me and put me in training in the scientific field. I could not have imagined having a better advisor and mentor through this venture. Besides my advisor, I would like to thank the rest of my thesis committee: Prof. Zheng Zhong Wu, Prof. Fei Wen Cheng, and Prof. Ken Fang Lee, for their insightful comments and encouragement. My gratitude also goes to Dr. Thomas Thurnell-Read at Coventry University, for his guidance toward a local pub tour during summer internship in the UK, which was an inspiration to the writing of this thesis. I would also like to thank some close friends who have enlightened me through the journey: Alex Huang, Vivian Chiu, and Wei Cheng, for all the motivation we gave to each other, sleepless hours before deadlines, and for all the fun we had in the last three years. Finally, I would like to express my profound gratitude to my beloved family: Dad, Mom, Albert and Brian, for supporting me throughout the venture and believing in me when things didn’t go as well as expected. This thesis wouldn’t be possible without their support and encouragement – both spiritually and materially. For that, I’m forever grateful and indebted.. Alice August 2015. .

(3) 謝誌. 三年的時間，不算長，也不算短。但這趟旅程，我學到很多，也很高興一路上認識了許多不同的人，讓我有機會在這三年間，重新認識自己。這本論文的誕生，一路上要感謝很多人，能夠如期完成，最先要感謝的是我的指導教授賴嘉玲老師。老師教學充滿熱忱與理想，撰寫論文過程中，不論是題目的篩選、內容架構的發想，以及理論運用的訓練，在學術研究上給予我盡心的指導與協助，感謝老師在這段煎熬的過程中給予的支持與鼓勵。對於我的口試委員：師大地理系吳鄭重老師、東海社會系鄭斐文老師，以及師大翻譯所李根芳老師，在論文審定上的精闢見解和建議，在此深深的表達謝意。另外，特別感謝 Dr. Thomas Thurnell-Read 教授，於 2013 年英國伯明翰暑期實習時，帶領同學們進行 pub 導覽及瞭解在地啤酒釀造的過程，賦予這本論文最初撰寫的靈感。而漫長的論文撰寫過程中，也要感謝身旁特別的朋友們：柏瓏，謝謝你在論文初階段時，總是不厭其煩地開導我，給予我建議。鄭瑋：我可愛的小戰友，謝謝有你一起渡過這趟瘋狂的旅程。珮雯：親愛的好姊妹，謝謝妳一路上的陪伴，更謝謝妳總是不斷培養我信心，讓我在研所這條路上始終不放棄。最後，特別感謝我的家人：爸爸、媽媽、祺晏、祺晅。感謝你們的體諒，在研究所這條路上沒有給予我壓力，讓我能安心學習。謝謝你們不曾放棄，並一路支持著我。這段旅程，你們是我背後最大的支柱，謝謝你們。. 林芛謹致歐洲文化與觀光研究所國立台灣師範大學ㄧ 0 四年八月. .

(4) Abstract Public houses have long been celebrated as important social institutions and popular destination icons in British culture for centuries. Literatures on pub and beer tourism have been largely neglected and thus, the purpose of this study is to look into the possibility for an alternative British pub tourism to be developed, as well as CAMRA’s (Campaign for Real Ale) practice on preserving and revitalizing community pubs and real ales that further create a local community network to reinforce the making of cultural landscape and identity construction. CAMRA is an independent, non-profit organization campaigning for community pub and real ale preservation for over 40 years. The campaign aims to revitalize local pub economy against globalization, as well as encouraging local-brewed ale to be recognized and ‘gastronomized’, establishing new local economy and food tourism to bloom. Two specific guidebooks – CAMRA’s London Pub Walks and the Lake District Pub Walks are selected as case studies to explore how local pub scenes are described and represented via CAMRA guidebooks. This study attempts to explore the making of two different pub scenes located in two places – London and the Lake District. CAMRA’s guidebook emerges as a political representation, which is central to cultural representation and social identity formation via the making of indigenous cultural landscape. Guidebook’s influence on CAMRA illustrates a specific transformation, from being a social movement against bureaucratic and capitalism, to taste-making and food culture renovation via its pub tour design. The emergence of CAMRA guidebook typifies the process of tourismization and that tourists’ demand is increasing upon more diverse tourism products and travel experience. Through analysis of how each guidebook is written and how it portrays local pub scene, CAMRA’s endeavor on food culture renovation, community nostalgia and local pub business expansion can be understood from an innovative perspective.. Keywords: CAMRA; guidebook; public house; real ale; creative tourism; sociation. .

(5) 摘要當今文化創意產業為一新顯學，也間接推動文創旅遊此一新概念，文創與旅遊的結合，將會成為未來一種新的旅遊形式。旅行不再只是為了觀看世界指標性的文化景點或地景，文創旅遊結合旅行、體驗、以及學習三概念，利用不同的創意元素和背景，讓觀光從被動式的觀看，到提供更多元化不同的主題內容，形成一種互動式的旅遊模式，讓生產者、消費者和在地文化之間能彼此學習、促進地方發展，並形塑象徵性的地方品牌意象和文化認同。而近代，有關文化遺產保存的議題，隨著懷舊、復古的風潮，也漸漸受到重視。懷舊感作為一種具有社會性的新文創，與文化遺產和地方品牌意象連結，亦可作為ㄧ品牌策略，發展文創旅遊。 CAMRA 為一獨立運作、自發性的非營利組織，主張英國在地經濟復興與抵抗全球啤酒工業支配的新運動，鼓勵在地啤酒釀造與 pub 文化的復興、啤酒美食化的論述實踐，以及建構新的在地經濟和美食觀光。本研究旨在透過深入剖析一歷史悠久的英國黑麥酒復興運動 (Campaign for Real Ale) ，其如何保存並復興英國 pub 文化 (British pub) 和在地黑麥酒 (English real ale) 釀造，探究CAMRA如何作為一種新的文創旅遊模式，設計出屬於 CAMRA 的另類英國酒吧觀光。本研究選擇兩本CAMRA發行的旅遊導覽書作為研究個案，分別為 CAMRA’s London Pub Walks 以及 CAMRA’s Lake District Pub Walks，探究旅遊導覽書的中介作為一種再現政治和「轉變」，及黑麥啤酒復興運動「觀光化」的過程，導覽書會如何描寫兩個不同的酒吧地景。建築的保存和復興，亦是本研究的討論重點，探究 CAMRA 與在地社群文化之間會如何刻畫社群懷舊感，以及啤酒美食化的實踐過程如何建構新的品味和飲食文化。. 關鍵字：CAMRA; 導覽書; 英國酒吧; real ale; 文創觀光; sociation. .

(6) Table of Contents Chapter 1 Introduction…………………………………………………………………………….1 Research purpose………………………………………………………………….....2 Research objectives…………………………….…………………………………….4 Chapter 2 Literature Review………………………………………………………………………6 Creativity & Food Tourism…………………………………………………………..6 Heritage & Representation………………………………………………………….11 Going down the pub!.....................................................................................13 The English real ale………………………………………………………...19 Guidebooks………………………………………………………………................21 Guidebook the off-site marker………….………………………………......22 Guidebook as travel intermediary………………………………………......23 Food guide as taste maker…………………………………………..............24 Brief summary……………………………………………………………………...26 Chapter 3 Research Methods……………………………………………………………………..27 Scope of research…………………………………………………………………...27 Methods……………………………………………………………………………..28 a. Discourse analysis…………………………………,,…………………........28 b. Case study method………………………………………………………….29 Selection on guides…………………….…………………………………………...29 Chapter 4 CAMRA & the Ale Tourism Making………………………………………………..37 CAMRA as new sociation……………………….………………………………....37 The Preservation Project: pub heritage & historic interior…..……………………..39 Local community & identity construct……..………………………………………43 CAMRA & the Brand: disseminating the message……………….………………..45 Festivals & events…………………………….…………………………….46 On Touring: pub crawl, ale trail & brewery tour…………………..……….51 Guidebooks & publication………………………………………………….58 Brief summary……………………………………………………………………...62. i .

(7) Chapter 5 Guidebook Discourse & Tourist Encounters – CAMRA’s London Pub Walks & CAMRA’s Lake District Pub Walks………………………………………………..64 Pub & ale in major guidebooks……………………..…………………………….64 Introduction of CAMRA’s guidebooks….………………………………………..65 On Staging London: pub heritage & the walk……..……………………………...70 Architecture………………………………………………………………….71 Culture……………………………………………………………………….78 Gourmet trail & the brewing scene……...…………………………………...82 Film & literature….………………………………………………………….86 Transportation………………………………………………………………..89 On Fantasizing the Lake District……………………………………………….....95 Image Production & representation………………….………………………96 Discover South Lakeland: town, village & the walk……...………………..101 Railroad usage……………………………………………………………...105 Comparisons of CAMRA’s London Pub Walks & the Lake District Pub Walks.109 Landscape & heritage…………………….………………………………...111 Target readers….…………………………………………………………...112 CAMRA’s creative tourism & its performing form……...……………………...114 Chapter 6 Conclusions…………………………………………………………………………...118 Research findings…………………………………………………………….…..118 CAMRA & the British culture…………….………………………………..120 Guidebook & theme tour’s practicality……………...……………………..124 The next 40 years of CAMRA?.....................................................................127 Limitation of the study………………….………………………………………..129 References………………………………………………………………………………………...131. ii .

(8) List of Tables Table 3.1………………….............………………………………...................................………....33 Table 3.2…………….....………………………………………………………………………...…35. List of Figures Figure 3.1……………………………………………………………………………………….......31 Figure 3.2…………………………………………………………………………………………...31 Figure 4.1…………………………………………………………………………………………...41 Figure 4.2……………………………………………………………………………………….......42 Figure 4.3…………………………………………………………………………………………...42 Figure 4.4…………………………………………………………………………………………...46 Figure 4.5…………………………………………………………………………………….……..47 Figure 4.6………………………………………………………………………………….………..47 Figure 4.7………………………………………………………………………………………..….47 Figure 4.8……………………………………………………………………………………….…..47 Figure 4.9………………………………………………………………………………………..….49 Figure 4.10………………………………………………………………………………………….49 Figure 4.11………………………………………………………………………………………….50 Figure 4.12………………………………………………………………………………………….56 Figure 4.13………………………………………………………………………………………….57 Figure 4.14…………………………………………………………………………………….……57 Figure 4.15………………………………………………………………………………………….57 Figure 4.16………………………………………………………………………………………….57 Figure 5.1…………………………………………………………………………………………...66 Figure 5.2………………………………………………………………………………………..….72 Figure 5.3………………………………………………………………………………………...…72. iii .

(9) Figure 5.4…………………………………………………………………………………………...73 Figure 5.5…………………………………………………………………………………………...73 Figure 5.6…………………………………………………………………………………………...74 Figure 5.7…………………………………………………………………………………………...74 Figure 5.8………………………………………………………………………………….………..74 Figure 5.9…………………………………………………………………………………………...74 Figure 5.10……………………………………………………………………………………….…75 Figure 5.11………………………………………………………………………………………….75 Figure 5.12………………………………………………………………………………………….76 Figure 5.13………………………………………………………………………………………….76 Figure 5.14………………………………………………………………………………………….77 Figure 5.15………………………………………………………………………………………….77 Figure 5.16………………………………………………………………………………………….77 Figure 5.17………………………………………………………………………………………….80 Figure 5.18………………………………………………………………………………………….80 Figure 5.19………………………………………………………………………………………….80 Figure 5.20……………………………………………………………………………………….....81 Figure 5.21………………………………………………………………………………………….82 Figure 5.22………………………………………………………………………………………….83 Figure 5.23………………………………………………………………………………………….83 Figure 5.24………………………………………………………………………………………….84 Figure 5.25………………………………………………………………………………………….85 Figure 5.26………………………………………………………………………………………….85 Figure 5.27………………………………………………………………………………………….85 Figure 5.28………………………………………………………………………………………….85 Figure 5.29…………………………………………………………………………………….……87 Figure 5.30…………………………………………………………………………………….……88 Figure 5.31………………………………………………………………………………………….90. iv .

(10) Figure 5.32………………………………………………………………………………………….91 Figure 5.33………………………………………………………………………………………….91 Figure 5.34………………………………………………………………………………………….92 Figure 5.35….....................................................................................................................................98 Figure 5.36…………………………………………………………………………………….........98 Figure 5.37……………………………………………………………………………………….....99 Figure 5.38……………………………………………………………………………………….....99 Figure 5.39……………………………………………………………………………………….....99 Figure 5.40……………………………………………………………………………………….....99 Figure 5.41……………………………………………………………………………………..….100 Figure 5.42…………………………………………………………………………………..…….101 Figure 5.43…………………………………………………………………………………….…..101 Figure 5.44………………………………………………………………………………………...102 Figure 5.45………………………………………………………………………………………...102 Figure 5.46…………………………………………………………………...……………………103 Figure 5.47………………………………...…………………………..…………………………..103 Figure 5.48………………………………………………………………………………...………103 Figure 5.49………………………………………………………………………………….……..103 Figure 5.50……………………………………………………………………………………..….104 Figure 5.51…………………………………………………………………………………….......104 Figure 5.52………………………………………………………………………………………...106 Figure 5.53………………………………………………………………………………………...106 Figure 5.54………………………………………………………………………………………...107 Figure 5.55………………………………………………………………………………………...107. v .

(11) Chapter 1 Introduction Beer, breweries and English pubs have long been celebrated as important cultural symbol and social institutions within the British imagery for centuries, and viewed as one of the popular destination icons within the contemporary tourism industry. British pub has been renowned all over the world not because of which being a place to drink beer, cider or wine, but rather a unique social center within communities across the country. Furthermore, real ale as one of the major parts of pub culture, not only has it been one of the crucial staples in the British diet, but represented a unique British identity renowned locally and globally. Pub scene is a unique space brimming with life and history. As a distinctive social gallery, it represents a significant social character in which people and place are connected and interacted with each other that construct a seemingly reciprocal relation and a convivial atmosphere. Pub scene displays the social life of ‘signs’ and its performativity can be manifested through an interactive interface between host and guest, people and place and further infiltrate into the British everyday life. Given that pub and beer economy had once been its low time during 1960s and 70s due to capitalism and state control over tax and beer duty, the number of British pub has been in significant decline and so do small breweries that produce real ale and quality craft beer. A social group thus decided to do something about it and that comes along with Campaign for Real Ale (CAMRA) – a non-profit social institution aims at preserving community pubs, reviving real ale and craft beer, as well as protecting consumer rights in consuming the best quality of beer.. 1 .

(12) Research Purpose In summer 2013, I was required to participate in a summer program at University of Birmingham and my visit to England brought me more awareness toward the peculiar, charismatic British pub culture, as well as CAMRA. CAMRA (Campaign for Real Ale) is a non-profit organization that has been campaigning for community pub preservation and better quality beer consumption for over 40 years. I realized public house is more than just a place for drinking and there’s actually a lot more to dig into, specially after a guided tour presented by Dr. Thomas Thurnell-Read from Coventry University, taking us down to a renowned local pub named The Wild Boar in Warwick, United Kingdom. He gave us a thorough introduction in terms of the current state of pub and beer industries and what challenges and struggles both sectors are facing, as well as reasons why CAMRA stepped up trying to bring back “the originals”, “the locals”, and the act of saving community pubs. One of the staff from The Wild Boar even showed us a brewery tour back in the pub, explaining the complex brewing process of craft beer, which really topped off our experience. I’m fully aware that there are tons of literatures and studies on associated subjects and topics, which examine the British pub and beer industry from different perspective and approach. This research tends to ignite new tendency toward British pub and real ale via analysis of specific guidebooks, trying to inform general public through discourse and text that English public house and real ale are substantial and valuable cultural assets in urgent to be protected and preserved. The following will elaborate on CAMRA’s philosophy and objective, as well as why the campaign represents a vital and significant part within pub and beer market.. 2 .

(13) CAMRA – Campaign for Real Ale CAMRA was originally started up as an anti-capitalism campaign to fight against big brewing companies as well as against the instrumentality and governmentality of capitalism. To date, the campaign has reached to a new level. Not only has it been preserving and re-popularizing the beverage, but has been trying to find the “locals” back by preserving community pubs and breweries and even dedicating to social regeneration through annual festivals, events and projects that would help promote British pub and beer tourism locally, regionally and nationally as new form of creative tourism in the UK. CAMRA campaigns nationally, regionally and locally and has been adopting practices and strategies to revitalize pub culture and ale consumption. Currently there are four CAMRA’s key campaigns, including “stop tax killing pubs and beer; secure an effective government support packages for pubs; encourage more people to try a range of real ales, ciders and perries and finally; raise profile of pub-going and increase the number of people using pubs regularly” (http://camra.org.uk/key-campaigns/). Notwithstanding that CAMRA is a non-profit organization campaigning to preserve and promote both British pubs and real ale, this study tends to target on discussing the pub sector, looking on the way pub tourism, pub crawl and pub scene are described and portrayed via CAMRA’s guidebooks, examining how pub and beer tourism are practiced in the UK as new form of creative tourism, as well as recognizing the cultural value of pub and beer scene as living heritage and distinctive landscape that is worth preserving and protecting for.. 3 .

(14) Research Objectives This study will target on analyzing two specific CAMRA’s guidebooks – CAMRA’s London Pub Walks and the Lake District Pub Walks – addressing how British pub and beer are introduced, presented and promoted through CAMRA’s guidebook mediation. The comparison between two places will also be discussed, examining how London and the Lake District claim their “localness.” As a world city, is there going to be a mixed and paradoxical struggle for London to have its own “local” scene? What are the different heritage imagery and community nostalgia reside in two different spatial contexts? Why CAMRA tour instead of “pub” tour? This study also attempts to discover CAMRA as a theme tour and alternative pub tourism; levels of creativity that deliver to the market, discussing how “localness”, space and historical value constructing specific aura and taste in cultural consumption as well as the density between pubs and breweries within local and regional areas that co-sustain local economy; furthermore, the element of “behind-the-scene” is also crucial in facilitating the experience in which tourists are always in quest of authenticity and everything that is considered to be “real.” Two research objectives are listed as follows: (1) To explore a new type of creative tourism to be developed; how CAMRA has been striving to revitalize lost tradition and culture, further bracing unique cultural identity to thrive through continuing effort and preservation towards community pubs, breweries and craft beer, together as phenomenal English living heritage. (2) Analyzing CAMRA’s guidebooks to explore the representation of two local pub scene; discussing the construction of pub and beer scene in both urban and peripheral areas with two specific guidebooks – CAMRA’s London Pub Walks and the Lake District Pub Walks, comparing how each guidebook describes its local destination image and the way it portrays different English landscape and heritage imagery.. 4 .

(15) By investigating the nature of tourists that are interested in British pub culture and craft beer, as well as recognizing the role and function of the tourist guide in promoting British pub and beer tourism through analysis of CAMRA’s guidebooks, this study will provide an alternative setting and contribution to not only literatures of culinary tourism, but specifically pub and beer tourism that provide new perspectives in the field of creative tourism.. 5 .

(16) Chapter 2 Literature Review The main purpose of the study is to look into CAMRA – the Campaign for Real ale by examining series of guidebooks that published by this social institute, discussing how the discourse and narratives are constructed for this specific spectrum of British culture and the construction of local pub and beer scene. The literature review tends to look into some ideas associated with British pub and beer tourism. First, I put the topic under the context of food tourism and explore the idea as food being a creative tool and antidote to mass tourism that further develop a distinctive touristic activity in the tourism industry. Next, I’ll provide a thorough elaboration on British pub and beer culture, discussing both of which from a certain perspective and how the two manage to develop and represent their heritage value, as well as unfolding their history and current circumstances. Last but not least, I will review literatures in terms of guides and guidebooks, discussing tourist guide from two different aspects, including general acknowledgement of “guide” and its function, to guidebooks that specifically look on describing food, taste and consumption. I will first discuss on food tourism and explores the connections between creativity and food in the next following.. Creativity & Food Tourism Food tourism is also known as culinary tourism or gastronomy tourism. Indeed, there are los of different definition of food tourism coming from different considerations and purposes, but general definition doesn’t seem to differ but rather share some commons. Food tourism is practically about tourists traveling to pursue ultimate and authentic experience in food consumption that connects food, place, and culture.. 6 .

(17) However, according to World Food Travel Association, while “culinary” technically could be related anything to food and drink, the institute stopped using the term “culinary tourism” since 2012 in that research among foodies indicating that the word “culinary” is rather elitist. “Food tourism” should be inclusive and includes the food carts and street vendors as much as the localsonly pubs, wineries, or one-of-a-kind restaurants. There should be something for everyone in the food tourism industry (http://www.worldfoodtravel.org/what-is-food-tourism/). World Food Travel Association defines food tourism as “the pursuit and enjoyment of unique and memorable food and drink experience, both far and near,” and by clarifying “far and near”, the definition notifies that we could also be food travelers in our own regions, cities and neighborhoods in addition to traveling across the world to eat or drink. Food blog Ontario Culinary Tourism Alliance also claims that “culinary tourism is not just limited to gourmet food. It is about what is unique, authentic and memorable about the delicious stories regions have to tell that often includes farmers, cheese mongers, fishermen, brewers, winemakers and everyone in between” (https://ontarioculinary.com/resources/culinary-tourism-101/). Food tourism nowadays seems to be perceived and emphasized as more about finding the local back, notwithstanding definitions in terms of food tourism varied based on different perception, confirmed by Boniface (2003) in Tasting Tourism: Travelling for Food and Drink: It can mean food and drink from within short distance enough for the item to stay manifestly fresh without help of refrigeration and to be consumed quickly after growing or producing. Local may be understood according to several criteria such as by soil and terrain, climate and environment, or socially and politically, and of course, culturally which can cover all the other types. (Boniface, 2003. p. 31). 7 .

(18) Within this highly globalized and homogenized world, the fact that the uniqueness of local food as both cultural and economic resources have taken up the food image to another level becoming something more meaningful, as Blakey (2012) proposed, …what was once strictly something needed for survival has become many different things (for some of the world, anyway): art, entertainment, pleasure, a hobby, a cultural artifact, an identity, a celebration, something to be experienced. (Blakey, 2012, p. 150) In facing a highly globalized world where cultural homogenization has been quite prevalent and widespread around the world, food tourism become a crucial part in contemporary experience economy in that food is known as key part of all cultures, a major element of global intangible heritage and an increasingly important attraction for tourists (Richards, 2012). Food can become distinctive elements of brand image in places, help create distinctiveness (Richards, 2012) and construct a holistic “food-scape” which unite local culture, creativity and food. Food tourism could be seen as type of creative tourism, in which we no longer look on cultural tourism simply as a “passive” leisure activity for tourists collecting “symbols” like sites, images, information from museums, galleries or other so-called “high-cultural” institutions. Creative tourism has now grown rapidly in the past decades, reflecting the growing desire of consumers aching for something new and interactive that they could engage in and attach themselves to local network society (Richards, 2011). The term “creative tourism” was initially created by Richards and Raymond (2000), in which they see the notion of “creativity” as a tool to solve social problems, knit community together and revitalize local culture, art and craft production in association with the tourism industry. Several reasons conjure up the popularity of creative tourism, including the need for tourism to re-invent itself and for destinations to do something different in a saturated market (Richards, 2012), as well. 8 .

(19) as making it much more available for “niche tourism” (Richards, 2011) to be identified and developed, supporting small-scale businesses on an indigenous level. Creative tourism is about experiencing novelty and authenticity and these legitimatize even more to the growing interest in food tourism. Food tourism embodies the notion of “authenticity” in which local food and cuisine are the most quintessential way to learn local culture and tradition. Authenticity has always been a major selling point when it comes to traveling. Tourist is kind of a contemporary pilgrim that is constantly in quest of authenticity in other ‘times’ and other ‘places’ (Urry & Larsen, 2011, p. 10). Tourists travel not just to marvel at sites and sights, but rather engage in understanding how the locals work or live, being able to feel the aura of city, lifestyle that differentiates from what they used to know. Pubs, as tourist attractions, offer a contrived indirect experience, an artificial product to be consumed in the very places where the “real” thing takes place (Culler, 1990). Tourists are in quest of signs of traditional English pub as pub is simply the easiest and most convenient way to meet people and feel the “real” British vibe. Public house is a ‘liminal’ realm (Edensor, 2011, p. 545) where tourists are constantly searching for state of enjoyment where they could let loose and have fun, thus getting down to the pubs and mingling with locals seem to do the job just right. For tourists, this is the place to be. These moving, viewing others within pubs are obligatory for collective consumption of place (Urry, 2011). Pubs, as “tourist places”, are inscribed in circles of performances, where it could be taken up as spaces that embody “authenticity” and “staged authenticity” (MacCannell, 1989) at the same time. It’s a “stage” that perform, present and “stage” all the “oldness” and sense of nostalgia at the forefront, while in the meantime, it is also a “backstage” that carries a so-called “behind-the-scene” characteristics, as a specific realm where you get to immerse yourself in the “real” British culture so to speak.. 9 .

(20) Flows of people, image and information within space or even on a global aspect, have crisscrossed national and social borders at significant level. This has not only enabled food tourism to serve as a crucial vehicle for authentic food experience, but a catalyst for boosting local and regional identities, cultural and economic development, as well as social and community regeneration. Some of the texts include Duruz’s (1999) research looking into the connection between food, place, memory and identity through nostalgic traces of ‘the rural’ in tourist and travel writing that extend the discussion in politics of globalization, nostalgic commodification and power inscription. Everett and Aitchison (2008) proposed the examination into role of food tourism in developing and sustaining regional identities in the context of production and consumption in the countryside. Sims (2008) also addressed on how local food can play a crucial part in sustainable tourism because tourists’ hearts and desire are constantly in quest of authenticity within holiday experience. The reason to refer pub and beer tourism to creative tourism, is that the practice of pub/beer tourism in the UK is, in major aspect, to try to find “locals” back and bring up more awareness for general public realizing the importance of these cultural assets. Creative tourism, on a large scale, is about connecting tourists and the locals, as well as the intention of finding “locals” back (Richards, 2012). Creative tourism is a networked tourism (Richards, 2012) in which producers and consumers are linked and encountered to co-create a general value they hope to share with. It speaks about how tourists are supposed to be engaged and intermingled with local communities. Likewise, pub tourism is a bodily sensational experience in which tourists get to embody and participate within the “enclaved” space of encounters (i.e the British pub). Creative tourism attempts to construct tourists’ autonomy in experiencing a destination. It is flexible, distinctive and set adaptation to local contexts.. 10 .

(21) Heritage & Representation This section will first discuss the British pub from historical and cultural aspects, exploring its social and cultural values in detail. The celebrated British real ale will be discussed from the same perspective as well. As a result that authenticity has now become a key selling and branding strategy in staging destination and enhancing local development, the following will unfold the significance of two cultural assets, and how they become a heritage that is worth protecting for. Heritages, often as visible markers of the past, have come to populate more and more land and cityscapes (MacDonald, 2011). Heritage sites have become key components of ‘place-marketing’ and ‘image management’, thus enable cultural tourism to widely expand, bringing visitors from across the world to places that can claim a heritage worth seeing (MacDonald, 2011). Despite being a symbol or marker of a certain epoch, Waterton and Watson (2010) also indicated that heritages are not simply sets of objects displayed, but processes involving the construction of meaning that frame and reveal the past, further constituted and represented in the present. The communicative act between places and people is invariably potent with representations (Staiff, Bushell & Watson, 2013, p. 1). The production of heritage is a social practice that seek to explore, capture and express meanings of past by collecting different actors like image, text, objects, artifacts etc that once bonded together and left traces behind. While representation, on the other hand, is a key cultural practice that gives meanings and helps processes tourists’ understanding in visual culture as a vital mean to translate discourse of heritages (Staiff, Bushell & Watson, 2013, p. 3). Waterton and Watson (2010) specifically ignited discussion in terms of the linkage between heritage and visual culture, suggesting that visuality will always be either centrally or partially involved in the production of heritage, and that visuality is greatly associated with material culture.. 11 .

(22) Public house, as part of the fundamental national culture itself, is a phenomenal cultural asset and heritage that has become a significant visual marker when it comes to tourism in the UK. As much as the communicative act between heritage and people is about how tourists are physically involved in the space (Staiff, Bushell & Watson, 2013, p. 2), the Victorian architecture and its ravishing interior design typify and substantiate that heritage is often better understood and appreciated with high level degree of visual presentation amid all sensual experiences in visual, verbal, sonic and somatic. However, the relationship between places and tourists is more than this and is rather complex because heritages are not just sets of objects for tourists to gaze at, but are processes that involve construction of meanings and signification, which makes places or encounter spaces like British pubs hard to locate and explain within the tourism studies. MacCannell (1990) pointed out the budding links between the signified and the signifier to discuss signification of sites and sights, while Urry (2011) also problematized the complex notions between places and the gaze in cultural representation and tourism consumption. Places and spaces are important concepts to be negotiated in heritage and tourism and they should not be simply located as places where people, objects and information encounter and circulate within. Power relations are also manifested within heritage industry. The notion of power is often constructed, encountered and regulated within the place, and it will be discussed in more detail in the next section in terms of the social and cultural role of British pub within English society from past to present.. 12 .

(23) Going down the pub! A pub, formally public house, is a drinking establishment not just a place for drinking beer, wine or cider, but a unique social centre and focal point of community life in villages, towns and cities throughout the country. Pubs are seen as the heart of the England. English public houses have long been a social phenomenon since the nineteenth century. This traditional social institution represents a significant position, “an icon of everyday life” confirmed by Bennett & Watson (2003). British pub is a complex space where all the mundane things take place in there carry social and cultural codes in different aspects. Pub is a social institution and a significant role and ‘site’ in British everyday life, as well as a symbolic role in British working-class culture carrying a strong masculine embodiment. For great majority of males, or more specifically, working-class males, British pub is more of a “private” space for them, a “home” from home in which pubs are often seen as “sites” of everyday experience where men could easily pop in, loosen up and have a pint after hard day of work, for everyday life is about regularity, repetition and habits that individual performs on “stages” and doing tasks routinely and on daily basis (Bennett & Watson, 2002). Pub has long been a crucial part of the imagery of the British working-class culture. It used to be a dominant male enjoyment and simply a “liminal” space specifically for men. Public houses and the like have been portrayed as refuges for men escaping the monotonous toll of factory work, from the misery of unemployment and big-city alienation. (Clark, 1983, p. 2) British pub used to be a male monopoly social space in which social class of the participants in this scene was extremely exclusive and limited. The pub was used to reinforce the cult of masculinity (Bennett & Watson, 2002, p. 200). Gender stereotyping could easily seen in this. 13 .

(24) community in which there were times when women were considered to be socially inferior based on their marital roles or status and received unequal access to the pub (Melissa Cole: CAMRA at 40, p. 53). A key survey conducted by Leyshon (2008) provided an alteration in examining links between gender and identity, as well as female embodiment within public houses and the countryside, discussing how public house as a space of performance, providing young women a stage where identities are to be conducted, negotiated and reproduced. As time went by, what was once strictly a space for “private” or to say, “internal public” are nowadays opened to the “external public” in which there are more and more different types of pubs catering to different markets such as family pubs, gay pubs, or country pubs where you could listen to live music all night long. There are also proliferation of pubs that go with food service where it could be more family-oriented offering alternatives and encouraging people to eat out on a much more regular basis. The pub sector has transformed significantly providing various entertainments that it has become a mirror image of home, a home from home in a different sense, expressive of a certain lifestyle and taste (Bennett & Watson, 2002, p. 209). The proliferation of pubs has created a wider and diverse demand for different social groups with its culture remodeled and revitalized into more dynamic perspective. However, despite of the fact that the transformation of pub economy and social image has been quite successful and has reached to a wider audience, there are also concerns in terms of whether pubs become more commercial as well as local culture and villagescape being commodified into economic and tourism resource. The countryside, elements of ‘folk culture’ and tradition are often viewed as a commodity or commodifiable symbols attached to particular places, peoples, products and lifestyle (Maye, Ilbery & Kneafsey, 2005, p. 835). The once “authentic” public ritual becomes a staged performance, a cultural “commodity” (Cohen, 1988, p. 381). It is worried that the once socalled “private” spaces are now becoming more commercialized and oriented to the “external. 14 .

(25) public” that try to meet tourists’ demands and tastes. However, Cohen (1988) also argued that commoditization does not necessarily destroy the meaning of cultural landscapes, for what used to be considered as the “internal public” may become a culturally significant self-representation before an “external public”, as well as preserving local landscape from being demolished. …the emergence of a tourist market frequently facilitates the preservation of a cultural tradition which would otherwise perish. It enables its bearers to maintain a meaningful local or ethnic identity which they might otherwise have lost. (Cohen, 1988, p. 382) As more and more village pubs are refurbished and remodeled, whether into preserving the Victorian-vibe, modern, stylistic, or eccentric looks, pubs are embedded in this whole picture as a tool and medium to re-invent and provoke certain memory lanes or on the other hand, to make a step into new cultural and economic outlook. The pub sector of the economy has long been facing challenge and the number of pubs has been in significant decline due to different reasons, including capitalism and state control, transformation of social structure, industrialization, urbanization, accessibility toward alcohol consumption, large array of competitors and regulatory administration. According to BBPA (British Beer and Pub Association), total number of pubs in the UK estimated up to 2013 stands at approximately 48,000 left in business, drastically descending from around 52,000 in 2009, 51178 in 2010, 50395 in 2011, and 49433 in 2012 (http://www.beerandpub.com/statistics), indicating a significant plunge in pub industry. Capitalism has proliferated the ownership of pubs being concentrated in the hands of a few brewery conglomerates (Bennett & Watson, 2003, p. 204). Regulatory factor such as stricter drink-driving laws being adopted swiftly lead to more pub closures in order to reduce the number of car-based trips, as well as overall consumption of alcohol (Everitt & Bowler, 2003).. 15 .

(26) Other factors also have to do with the changing habit in terms of the way people consume alcohol, in which many of whom do not usually drink in old-fashioned pubs or participate in traditional village activities (this has been seen specifically among young age groups). Young social groups often prefer new leisure choices and different drinking habits and locations such as fancy clubs, wine bars or just drink at home with video games and canned beer (Everitt & Bowler, 2003; CAMRA at 40). More recently, consumers’ tastes have shifted as well, from beer to lager, wine, and a range of other types of mixed drinks (Bennett & Watson, 2003, p. 205), in which this also put pressure on CAMRA, trying to reverse the trend to lager and keg beer back to good quality real ale (Bennett & Watson, 2003). Several local CAMRA branches have been adopting the sixpoint compact plan (Media, Community, Articulate, Warmth, Involvement and People) in order to save community pubs by reaching out to the locals and pointing out the advantages of having local pubs socially and economically (Tierney-Jones, 2011, p. 276). Furthermore, there’s also the fact that price of pint is rising drastically. For the last nine years, beer price has been set from 66p per pint. to. 99p. per. pint. estimated. up. to. 2013. according. to. BBPA. (http://www.beerandpub.com/statistics). The complexity of English pub also brings out many contested debates in terms of its authenticity as a heritage and a cultural heterogeneous construct (May, Ilbery & Kneafsey, 2006, p. 843). Authenticity is embedded within refurbishment and redecoration of English pubs to retain what a Victorian-vibe looks like, with nostalgic photographs hung around wall or delicate furniture placed within. But are these authentic or inauthentic? Pubs have been constantly reconstructed, repolished and reproduced so to preserve or re-represent its ‘original’, ‘authentic’ Victorian-vibe. This could be what MacCannell (1989, p. 98) stated that there is a staged quality to every certain proceeding that lends to them an aura of superficiality in which place is reproduced and rather inauthentic, or else it could be what Culler (1990) suggested that authenticity has surpassed the. 16 .

(27) actual ‘real’, but has become a sign relation in which places are ‘real’ for the tourists by a process of semiotic articulation, for traveling is all about symbolic consumption, physically and sensuously. Tourists gaze and experience a place’s ‘difference’ differently (Urry & Larsen, 2011, p. 3). We do not literally ‘see’ things. Particularly as tourists, we see objects and especially buildings in part constituted as signs. They stand for something else…such signs function metaphorically. (Urry & Larsen, 2011, p. 17) This could also refer to what Wang (1999) had identified of the existential authenticity, in which it refers to simply a state of Being and that authentic experience is practically activated by the liminal process of tourism and nothing to do with discrete toured objects (Wang, 1999). The concept of authenticity is important in relation to not just places, but provision of tourist products and services – including food and drink – because tourists may look to develop an authentic sense of self through purchase of particular products (Sims, 2008) in that food experience in tourism is vital not only for survival and local economy, but represents a dynamic characteristic around the world as a rich source of cultural, economic and social diversity (Richards, 2012). As today heritage has no longer necessarily been referred to physical or tangible objects and establishments, heritage now also includes traditions or living expressions, such as performing art, social practices, cuisines, rituals, festive events, or knowledge and skills in terms of traditional crafts. Food and beverage should also be seen as living cultural heritages that will continually thrive to boost local and regional cultural development and reinforce local economy. Hodges’ (2001) research on heritage tourism in a Southern French village where he looked into details in terms of invention of local cuisines in association with local built heritage tourism, discussing social consumption and production that embedded in the context of food, time and heritage. Love (2007) also addressed some of her concerns on local food revitalization in which she. 17 .

(28) showed the relationship between community decline and heritage food revival in rural Japan. Food and beverage, as intangible cultural heritages, could both be catalyst for booming local development and heritage revitalization, as well as an antidote to homogenization and globalization in the gastronomic industry. Intangible cultural heritage is traditional, contemporary and living at the same time. It is inclusive. and. representative. (What. is. Intangible. Cultural. Heritage?:. http://www.unesco.org/culture/ich/index.php?pg=00002). The British food and beverage industry could look up to Germany in that the country recently applied to UNESCO for their Reinheitsgebot law to join a list of "intangible heritage". The law allows only water, barley malt, hops and yeast for brewing. Reinheitsgebot law was introduced in Bavaria in 1516 and adopted nationwide in 1906 in to protect beer drinkers and prevent them from consuming beers with cheap ingredients. The law is said to be the oldest food and beverage regulation in the world. "If Germany is still regarded as the undisputed beer nation, that is due to the Reinheitsgebot," said Hans-Georg Eils, president of the German Brewers' Federation (http://www.bbc.co.uk/news/business-25186518). With the German experience in mind, English ale, as a crucial staple within the British diet, definitely has the potential to be on the list of ‘intangible cultural heritage’ with its unique traditional fermenting and processing knowledge and skills in microbreweries, together it would help develop a specific culinary and cultural identity in the UK. The following section will elaborate on what real ale is and what makes available for this beverage to stand out from the massproduced bottled beer in the UK beer market.. 18 .

(29) The English real ale To create and develop a British culinary landscape and identity isn’t any easy task. Unlike French gastronomy, which is renowned over the world for its quality and diversity, British cuisine is mostly created and developed on a regional and local level, or even just renowned for pub food like smashed potato, sausage, fish and chips, as well as ethnic cuisines from India or the Middle-East. Within the competitive globalized economy, it’s important for the British to contemplate on what sorts of culinary landscape and identity the nation could possibly develop and keep on expanding in the global gastronomic industry. Beer and ale has long been part of the staple and commonplace in the UK for over thousand years. There is so much history behind the pint in your hand. As a beer brewing country, England is known for its top-fermented cask beer. (also known as ‘real ale’) in which real ale is an. unprocessed, unpasteurized beer that continues fermenting in the barrel. There are tons of different real ales and there is always a perfect suit for everyone. It can be said truly that British real ale is an incredible diverse product. Real ale is an unprocessed, unpasteurized beer that continues fermenting in the barrel, while sterilized beers are just cold beers that cannot achieve the depth and variety of flavors real ale could deliver. The word ‘real’ was put to differentiate from the sterilized ones. And what sets England’s real ale apart from other beers is that it’s technically alive when served. The fact that ale’s flavor constantly changes after it is brewed, as well as it can only be stored in the barrels for a short period of time, real ale’s uniqueness has limited its market sphere and the product relies heavily on its locality and thus, ale has been developed and produced into different styles and flavors within different regions in the country.. 19 .