This paper explores the social distance between local residents and African–Americans who havesettled in Ghana since the 1960s. Data generated from in‐depth interviews suggest the African–American expatriates felt their proximity to collective slave memory or particularly slavery heritageconferred on them certain rights to exclude local residents who are more susceptible to forgettingthe past. By appropriating traces of the past, the African–American expatriates provide a range oftourism services, albeit to visitors they believed subscribed to socially constructed meaningselicited at slave sites. The study suggests explicit recognition of African–American expatriates inthe levels of contestations that result from slavery‐based heritage tourism
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This study uses Lukes' (2005) three-dimensional power to explore the ability of traditional chiefs to influence slavery-based heritage tourism decisions. Traditional chiefs of five former slave communities in Ghana were in-depth interviewed about their efforts to harness community development through tourism and perceived influence in tourism decision-making process. Results indicated that despite being guardians of tourism resources, traditional chiefs perceive themselves to be powerless in affecting management decisions because of governmental control of local community institutions. They, however, exert considerable influence on tourism activities by either avoiding engagement or acting as community vanguards to discredit the interests of other stakeholders. Interview data support the theoretical tenets of Lukes' (2005) three-dimensional view of power, and the need to pursue cooperative tourism planning is discussed
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Carnival Futures: Notting Hill Carnival 2020 is a King’s Cultural Institute project led by Nicole Ferdinand (Culture, Media and Creative Industries at King’s College London) which sought to engage cultural organisations and other stakeholders in planning for the future of the Notting Hill Carnival. The content of this report is intended as a contribution to current research and to identifying future directions for the development of the Notting Hill Carnival. The material and views expressed are produced by various stakeholders in a series of workshops.
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