There is not a great deal of video documentation of The Tour of All Tours: you had to be there to see it, basically. But, over time, some bits and pieces do come together and this is one of those. This video was made for the exhibition On Holiday (CEAC Xiamen 2022) which took critical tourism and performance as its basis. The Beijing tour was reconstructed as a video for the exhibition and here, now, is that video.
One of the things that is quite obvious is the gap between text and image. This is the result of filming the tour five years after it was made. Five years is a long time in Beijing and many changes had taken place. This gap is not so much a problem as another layer and point of interest, as far as I see it.
One of the biggest changes is that the organization that commissioned and hosted the tour, Bookworm, had left Sanlitun. There was, therefore, an element of nostalgia for the recent past.
There is the rather wonderful looking 15th Urban Research Plaza's Forum taking place in Bangkok next month which I had hoped to attend but will be unable to make it to. In my stead there will be this short video outlining some of the creative tour output of the last three years. Putting it together made me realise what a lot of travelling I've been doing and recall all the people and institutions who've helped make it happen. Thank you all, and may it continue over the next three years.
When: 24th January Start time: 2PM Duration: 2 hours. Meeting Point: Outside Rich Mix, 35-47 Bethnal Green Road London E1 6LA End Point: The City of London Cost: £8. Ticket: Reservations: info@billaitchison.co.ukWear: Warm clothing After: cafe/bar to thaw and discuss
I was invited to Melbourne to make a tour performance as part of the exhibition Performing Mobilities at RMIT Gallery. It was an ambitious exhibition and performance programme that, among other things, looked at people's mobility in a local and global context and then how artworks and performances incorporate mobility within their formal structures. Given how the Syrian refugee crisis has unfolded recently, this was topical, even if the way this has played out in Australia is quite different to how it has impacted Europe. That was just one of the wider frames; locally, many other issues and practices seemed to also inform the work I saw, the conversations I had and my creative responses. It was a quite ideal frame for The Tour of All Tour which was made in response to the tours I found and the wider life I encountered in the city of Melbourne.
We started at RMIT gallery and headed out into the city-centre. I find my tours of tours are always more lively when we get to see some other tour groups in action rather than just hear about them through an abstract commentary. We were in luck today: we bumped into Technopia Tours. The previous day, when we were a small group, we even stealthily joined another tour for 5 minutes in a practice I call 'tour surfing'. No chance of that on this tour, we were too much of a group with our own gravitational force.
The State Library of Victoria has a number of galleries displaying artworks that are in some way part of the story of the state and its people. Particularly interesting for me were the paintings showing the genesis of Melbourne at the end of the 1830s. These paintings showed hills and trees punctuated by the log cabins and tents of the early settlers. The landscape was somewhat familiar; I had already seen it when I was taken out into the forest with the Walking Club of Victoria. One of the things that struck me was the depiction of indigenous Australians: two or three men huddled around a fire on the edge of the settlement. In this version of events they were marginal but present. These pictures were historical recreations of the scene painted 40 years after the city's founding, that is to say, when Melbourne had already established itself and was looking to develop its own mythology.
When we came to Chinatown I had to stop outside some of the Chinese tour agencies and point out their packages. One of their 'hot tips' was a trip to Sovereign Hill, a gold rush theme park where some enterprising Australians recreate the mid-nineteenth century by dressing up in period costume and taking visitors down mines before making a high-tech sound and light show in the evening. It is amusing to imagine a kitschy Australian theme park from a Chinese tourist's point of view but, when I stopped to do this, I realised there was something disconcerting. Seeing it through this frame, I imagined I was looking at the 'Australian people' as an ethnic group dressed in their traditional costumes. Completely absent within this frame were indigenous Australians; this was a history which they had been written out of entirely. Not having been to Sovereign Hill myself I cannot say if that is the experience of seeing it up close but I did read that it most surely is how it is in a similar historical recreation park in Australia. The paper, Colonialism's Past and Present, makes the point that discrimination is perpetuated and enshrined in popular memory through inaccurate historical recreations. One of the conclusions is that while tourist sites are primarily run as businesses, sites such as these do also have a historical and educational responsibility that is not always being fully met.
Since we were walking through Chinatown, we made a stop outside the Chinese tax free shop where it was possible to go a bit further into some of the patterns of Chinese tourists. Part of this was the way students act as the driver for parental holidays and then we got onto the gift culture and some of the more exotic items that this shop specialised in: skin cream made from sheep placenta.
I gave this tour a number of times and it was interesting to note that when we were a small group it was possible to have much slower and more interactive tours where each stop was, in a sense, a prepared conversation starter on different topics broadly within the politics, culture and experience of tourism in Melbourne. When we were a larger group, however, it became a show where timing was essential and the conversation took place much more within the audience as we walked from stop to stop.
We had our moment with the selfie stick and shortly after our tour experience was on social media.
We came across two works of Invader on our tour making a neat link to East London where these space invader mosaics are also to be found and feature in a tour of mine. One of the things I am attuned to, having made tours in different cities and countries, is not only the portability of tour formats, but also the duplication of sites. This is something that I typically associate with corporate structures like Regus: they produce similar rented workspaces around the world, one of which I took a tour of and reviewed here. In street art this is less typical; I am aware that there are some taggers who operate on a European-wide scale but very few spread themselves quite as far and wide as Space Invader who operates on multiple continents.
Naturally, we stopped off in the street art zone. Because many of the people on my tour were just visiting the city for the symposium and not from Melbourne, the cameras came out and the performance became near identical to the tours I was talking about. Street art, no matter if it is good or bad, seems to have this effect.
At the age of 16 I had dreamt of moving to Australia and getting away from all the things that upset me in the UK, which were a great many. This stay in Melbourne was my first visit to Australia and so my week of taking tours around the city was an opportunity to consider how my life would have been different had I moved all those years ago. My conclusion was that I did not know at the time what I would have been stepping into and making that move now would be an uneasy one since, as a British citizen, I feel a weight attached to the colonial history of settlement.
At the Performing Mobilities symposium, I gave a talk in which I floated the idea that the tourist gaze has spread far and wide, well beyond the realms of the tourist industry alone. City branding, wedding photography and outdoor sports are all areas where the tourist eye has started to extend and establish itself. It also, I believe, can be seen in mobile art projects, though here it is often an unconscious and unacknowledged presence, seeing as it is viewed as a negative thing. These are, in fact, ideas I will be developing and presenting at the end of March in Taipei in a talk I am preparing called The Emancipated Tourist. The symposium proved to be rich, varied and offered some welcome optimism. I had been troubled by the near invisible status of indigenous Australians in the tourist sector as I had experienced in the days before, but here in the symposium, that was far from the case. Aboriginal elders were treated as guests of honour, their ideas and culture valued, and a serious effort made to move forward together. I was very grateful to end my visit on this more constructive tone; it genuinely transformed my stay by addressing the thing that I had been sensing all week, giving form to my feelings and offering a model of how to integrate communities that history has previously set apart.
Beijing World Park is one of a number of Asian theme parks that attempt to represent the world to the visitor. As such, a tour of this place is not only a tour around a corner of Beijing, it is also, in miniature, a tour of the world through its iconic tourist attractions.
The front entrance has distinct echoes of Disney, which itself was modelled on some of the sites that await the visitor inside the park, such as Neuschwanstein Castle in Bavaria. The references are jumbled but the effect is fine: it looks historic and Western. There's a further bit of history here too, I visited during the national day holidays which marked the 65th anniversary of the founding of the People's Republic of China. Visitor numbers were up because of the holidays and good weather but still the place was far from packed: World Park is a 2nd tier Beijing attraction located in the South West suburbs and doesn't have the pull (and crowds) of The Forbidden City, Tiananmen Square or Great Wall.
The audio tour turned out to be broken and the machines were at the factory getting repaired. There were no guides offering tours and the only alternative was a land train that wizzed you round or an overly fancy horse drawn carriage designed to dazzle from a distance. Walking seemed like the best option, and this quickly brought me to a Thai Elephant and Crocodile Show. The Thai angle seemed to me slight; it is a type of show that is apparently popular with tourists visiting Thailand... but more to the point, with tourists in Beijing too. This show was the start of a tour then, that was not so much a tour of the world in all its raw vastness but rather a tour of the world's tourist traps and popular attractions. Happy hunting ground for The Tour of All Tours.
I had never seen an elephant show before and found myself warming to it when I put aside the question of the animal's welfare. The elephants managed to do all manner of tricks like kicking footballs and dancing to The Macarena. Around the side of the arena this man pushed a cart of bananas which he sold to the public. At certain points the elephants would approach the seating and those with bananas could feed them. This was a smart way of making a bit of extra money out of something that would happen anyway. Indeed there were quite a number of ways the show managed to make extra money: children were lifted up high in the elephant's trunks for photo opportunities, there were live photos for a price with the crocodiles too, which struck me as playing with fire.
With the animal show over a new entertainment in the adjacent arena began. This was a dance show that I have never seen anything quite the like of before. They attempted to show the world through dance. They began with a Brazilian carnival display and moved onto a Spanish fiesta, an American Indian ritual and fire dance, a ballet cum acrobatics turn, an Indian Bollywood number and so on. At this point they arrived at Egypt with a pharaoh striding out of the set in the background followed by this team in blue and white. When the veil flew off this turned into a belly dance routine collapsing ancient and modern Middle East into one. The dancing was often far from good but that only added to the thrill of seeing this novel and slightly bad taste spectacle unfold. I wouldn't be able to see something quite as blunt as this in the UK, there would be too many objections from the people it depicts. Not here! They really went for it and gave their best shot at doing each of these dances in turn.
This immediately brought to mind the film The World (2004) of Jia Zhangke as it is set in this same theme park and begins with a scene featuring dancers doing routines very similar to those I witnessed. The film shows a backstory to this spectacle and the human cost of contemporary Chinese development. It is well worth watching and it hovered over the place as a parallel and darker narrative throughout this tour of World Park.
The apex for me was when we got to Chinese Riverdance. I had been warmed up already and this was an icing on the cake moment. That might be because, culturally speaking, Irish dance is more known to me than most of the other things I had seen so far, so there was the amusement of having the familiar made strange and not to say, slightly naff. All of the different routines were, in a way, familiar in the sense that they all belonged to the imagery of big spectacles. This was like a low-budget Olympic opening ceremony showcasing not just the host nation's dances but those of the whole world. I'm going to have to let this experience settle a little but I suspect there is an avant-garde remake of this lurking in the depths of the imagination.
The section of the park behind me is called Grand Canyon and I am standing on a model Golden Gate Bridge. Yes, this is America. The big country made small. Alongside the sites there are stalls selling food and souvenirs and I was hoping that these would reflect the locations they were paired with but sadly not. I think it was a missed opportunity. That said, a McDonalds would be of little interest to me as I don't eat meat and when I come to think about it, the food is only part of the ambiance, the people are what really make a place feel located. Installing some representative Americans in a McDonalds who would eat and talk in an authentic way would be tricky as they would rapidly balloon in weight more or less replicating the documentary Super Size Me. Similarly, having a British drunk sitting under the model Tower Bridge drinking super strength lager would give it a more authentic edge but this feeling of being in the location is not what's really called for here. The point is to condense the world into a series of photo opportunities.
The park shows its age by retaining the Twin Towers of the World Trade Centre in its Manhattan section. I suppose it would hardly do to knock them down in solidarity with the real ones following the 9/11 attacks, but standing there today they stick out like a sore thumb. It is ironic that these towers are probably the most contemporary buildings that are featured in the entire park and they are also the only ones that no longer exist in reality but only as these scale models.
Having recently covered Stonehenge on this blog, I was amused to find a scaled down version of it here in the park that was serving as a playground. I read that in 2008, World Park was one of the three officially designated protest sites and I tried to imagine a Free Tibet rally taking place on this Stonehenge model. I think the official who came up with the idea of making this one of the protest sites must have had a sharp sense of humour.
Neuschwanstein Castle in Bavaria was one of the spots favoured by the many wedding photographers that were operating in the park. When researching Chinese coach tours of Europe for the Stuttgart Tour of All Tours I noticed that this castle was a point on most tour itineraries. That may be because it not only is iconic but is also well located for transport routes, but nonetheless, it is quite probably the most well known castle in Europe to Chinese tourists. Wedding photography is a boom industry and no standard wedding is complete without some fancy images such as these. Somehow the preferred spots for these photographs are not the sites of the ceremony itself but are instead tourist locations at home and even abroad where the pictures are taken some time before the wedding day. In this way the tourist imagination spreads into all sorts of areas beyond the strict preserve of the holiday itself.
Hello Brussels! The man who stood here after me underneath the Mannekin Pis managed to take a photo that would not have been possible at the real fountain as it is surrounded by a fence and is perched some way up on a wall. Standing on the far side of the fountain he squeezed his finger and thumb around the little statue's willy. It is probably for the best that the fence exists in Brussels.
I read that Chinese tourists are increasingly suffering from the affliction Paris Syndrome which was previously reserved to Japanese tourists only. Put simply, it is a psychological condition brought about in a small number of visitors who arrive in the City of Light and find it far from the city of their dreams provoking, in some, a state of mental collapse. No such problems here in World Park! You can stay well and truly in a Chinese bubble where no rude waiters or pickpockets are going to puncture the dream. Even if the visitor does encounter a problem, it is a Chinese problem that does not touch Paris, which exists in another world above and beyond that of raucous Chinese children or pushy groups muscling you out of the way.
Dressing up in period costumes for photographs is a bit of a thing at tourist spots in China and this normally means classical Chinese costumes. A few days ago a woman running one such stall in a park suggested I put on her emperor's costume and the incongruity of it nearly persuaded me to do it but, sadly for her, I thought twice and thought better of it. This being World Park the costumes are not just classical Chinese, they are Westerners' outfits like this dress here. Whether or not it really fits with St Peter's Square in The Vatican is beside the point, that's a technicality for historians of costume. It's all about dreams created by the movies and media and in this corner of Beijing it's possible to touch those dreams and have a little piece of them for yourself.
Of all the sites I saw the most singularly underwhelming of them was The Pyramids. The real Egyptian structure is impressive, I am guessing, on account of its size, age and location. Here however, it was reduced to the size of a house, dates from 1993 when the park opened, and is in a nondescript suburb of Beijing. Of the five continents represented, Africa and Oceania were the least prominent with Europe being the most featured.
Finally there was a corner of the park that depicted China. There was a copy of the Great Wall but then there was also this garden which was one of the more tasteful areas as it did not try to copy a famous site and end up scaling it down. My enduring feeling about the park is that it lacks ambition to be anything more than a mass tourist attraction. It succeeds in this basic function but I felt it could also potentially serve as an educational site helping to introduce Chinese people to other cultures in a more than superficial way. I also have the feeling that I will one day have to make a tour performance for a site such as this as they have such enormous potential to serve as art locations, so loaded are they with symbols and histories. I suspect that will come at a later point once I've been to a few more of the iconic sites themselves and made studies and performances of my own with them. That said, if someone turned around tomorrow and offered this as a set to play with I'd jump at the chance. Beijing World Park is a gift to the experimental tourist.
PS: this Saturday there will be a further performance of The Tour of All Tours in Beijing Sanilitun, starting at 2PM from The Bookworm. 100rmb.
Yesterday I was putting the finishing touches on The Alternative Tour for Inside Out Festival. The day began with some last minute editing to get the timings precise for the audio tour element. This is modestly ambitious in that I have tried to avoid some of the things that I have often been annoyed by when taking audio tours.
The principal one of these annoyances is the structure of most audio tours whereby you look at the map, walk to number 1, press play and listen. When that's finished you look at the map, go to number 2, press play and so on. I instead made this tour continuous so that you it walks with the listener throughout, both giving the guiding directions and the commentary. This way makes for a shorter, more intensive sort of audio tour. It does however take quite some work to get there.
This is the slightly glazed look I had when done with the recording and editing. The village was empty then and has since been transformed by the festival infrastructure; there is some serious event management going on. One part of me would prefer to see the place in a quieter way but I know that if you have 2000 people coming, you need to be able to deal with them, and their cars, which now swell fields designated as temporary parking spaces.
I am on a three performance a day schedule, which is pretty heavy, particularly as the tour is a little longer than anticipated, even though it only uses nine locations. It covers Nelson, 1983, The Tour de Manche, lost Danish students, an alcoholic cricket team, an electric bike tour, stones circles, the Parish book, genealogy and magic mushrooms! Not bad for 40 minutes.
I did manage to see some of the other work in the festival such this giant hare. It is very nice to see it transform as you approach it from the side. At first it is an abstract shape but as the position shifts it comes into focus and reveals itself fully. Nice. There's plenty more going on too, so if you are in Dorset do pop down this weekend.
The Tour of All Tours a guided tour of guided tours. You've read the writing and the reviews of tours here on the blog, these tours of tours are where it all comes together and gets put into action. The tour is as much an art performance as it is a guided tour, if you are in London or Beijing come and see for yourself.
Beijing Saturday October 11th 2PM Starting Point: Bookworm, Building 4, Nan Sanlitun Road, Chaoyang District, Beijing Cost 100 RMB London Tuesday October 28th 7PM Starting Point: outside Richmix, 35-47 Bethnal Green Road, London E1 6LA Cost £8 Bookings: info ( a t ) billaitchison.co.uk
A two-day workshop
led by Bill Aitchison, May 17-18
The workshop will
focus on two things: performing in the city space and making paths that lead
people through the city. The participants will spend two days understanding and
experiencing central Beijing from unfamiliar perspectives and then sharing these
discoveries with one another. The participants will be encouraged to explore
subtle styles of performing and they will create their own material. This will
involve a mixture of practical exercises in the city space led by Bill
Aitchison, theoretical discussions and the opportunity for the participants to
create a short walk of their own.
The workshop is
suitable for people who have an interest in the city and how it functions and
in how art and performance can be integrated into living city spaces.
Bill Aitchison is an
inter-disciplinary performance artist who has presented his work in galleries,
theatres and festivals in Europe, Asia, America and The Middle East. He holds a
practice-based PhD from Goldsmiths College is published in several languages, has
worked in radio and is associate research fellow at Birkbeck College,
University of London.
IFP is now accepting
registrations for participants, if you want to join please write to workshop@iprovoke.org
Participation fee: 150
RMB for two days.
The workshop be given
in English with Chinese translation.
Here are some pictures from the performance of The Tour of All Tours in Beijing, presented as part of the Bookworm Literary Festival 2014.
The tour started in the bookworm itself with a review of an audio tour around the station area.
The tours that were covered were very different with a good number of them from other cities. The details were smoothed over so as to make it ambiguous whether this was a tour of Beijing or a projection of the tourist gaze. The one exception that would not allow itself to be smoothed over was the 'Occupy Beijing Tour'. This was so unlikely that it was interesting in its own right in so far as it described a tour that would not be permitted. Standing in front of the Bank of China, we started to look a little like the tour we were describing.
Rather than describing this performance, something best left to someone watching it, it is more interesting to describe how it seemed to function. The format of the tour, even with the caveat of it being an art tour, brings with it a way of watching and participating. That and the great weather meant for a laid back audience.
The group was made up more of Westerners than of Chinese spectators, so we attracted a bit of attention in our own right as a minor spectacle. The hat no doubt helped.
It was great to be able to talk about The Olympics and East London and make comparisons between Hackney Wick and Sanlitun, an area that was developed significantly ahead of the games. Certain structural similarities connect the areas such as the displacement of poor people and their not very profitable businesses.
I enjoy those moments in the tours between stops when you talk in a more informal way with the spectators. I have to retain a performance sensitivity yet engage with people in an unforced manner. It is in these moments that you realise there is no escape from performing. The mask of sincerity is usually the best option.
Something I was not counting on happened. Taking the group through Yashow Market, I lost 2 or 3 people as they were spirited away into shopping mode upon seeing a dress they liked the look of. That is when I realised that it is not just me who engages in the event in more ways than one but so to do the spectators: as tourist, as art viewer, as shopper and as self, to name but four. As for the baby, he was probably the most centred of us all and hadn't leant the different roles he could play in this game of being the tourist.
This blocking of the blog from within China is why there have been fewer postings of late and that is a pity as there has been plenty to write about. The tour to The Great Wall was very silly and they managed to make something that could have been quite beautiful and impressive a great deal less than what it is. On the other hand, the way the day unfolded and the differences between Chinese coach tours and those I am more familiar with was so vast that it was worthy of a study unto itself.
Last weekend I gave the first Tour of Tours here in China for the Bookworm's Literary Festival and it went really well. The smog did not interfere, the weather was finally warm and it was a pleasure to be outside, something that has not been the case for a while. That helped enormously. The tour was a particularly conceptual one as there are no real tours that I took of the area and which I could report on. Everything was referring to something else or was a projection of another location onto Sanlitun. As such it made for an unusual sort of tour with the weight falling on talking about tours. We passed through Yashow Market a place bristling with fake branded products and lost a few people there, such is the danger of passing through a shopping place. In all however, it was a good start to Beijing tours and one that will be built upon in the coming months.
Advance notice now about workshops that will be given on performing in public space using guiding principles. There will be workshops in Beijing in May and in London in July, others to be announced.
For some, a self-guided tour simply means taking a tour without a guide accompanying you and showing you the way. In this sense, the Memoryscape audio-tour of Victoria Park, reviewed here on thetourofalltours, could be described as self-guided. I found, however, that when taking that tour there was both a voice and map offering me directions along a distinct, predetermined route and that I either followed the tour as it had been laid out or I did something else. There was very little room for me to exercise my own choice of route and still remain on that tour. If I try to imagine a self-guided tour in a way that excites me I like to imagine it more as a tour that requires the walker's active contribution to a significant degree. This is, admittedly, a blurry definition and it might be good to do a few tests around the margins to see how well it stands up, but for now it works well enough for me.
This is an example of a self-guided tour I made in 2003, though it might better be described as a sun-guided tour. What I did was to begin this day-long tour at sunrise on Trafalgar Square and then walk in the direction of the sun until it set in the evening. Using the sun as my guide, I walked first eastwards, veered south as the morning wore on and then made my way more towards the setting sun in the west, though with less energy as my legs tired in the late afternoon and early evening, thus accounting for the asymmetric pattern of the walk. I finished south of Croydon.
The ways the roads are laid out did not allow me to follow the sun as precisely as I would have been able to had I been on a vast expanse of open land. Instead, I had to work with the contours of the road layout which, in South London, is cut up and obstructed by the many overground train lines that criss-cross it. I was frequently confronted with a choice of paths and had to decide which of them would most likely allow me to continue walking towards the sun the most precisely. This, then, is a tour of South London that I would call self-guided as I both had the idea (which has almost certainly been done before but by whom or when I have no idea) and had to make many choices of which way to go in the moment of making the walk. I think of these two aspects of conception and execution, it is second, the choosing the path as I went that was the more significant. I believe it is possible, even inevitable, that when you take someone else's concept for a tour and then try it out yourself, you'll experience vastly different results.
I am currently helping prepare the performance Father Courage for Dubrovnik Summer Festival, which will premiere next Tuesday. Directed by Boris Bakal, it is a performance that takes place in a number of locations around the old city and so requires some walking as there are no cars inside the city walls. I won't disclose too much about the show in advance, as there are some very nice surprises, but it is enough to say that the work brings together guiding, multi-media theatre, tells many stories in personal, political and poetic ways, and it remains an open-ended and at times beautiful experience.
While the work deals less directly with tourism than most of the tours I have been writing about here, since it is happening here in Dubrovnik, tourism remains a definite presence. It is the city's main industry and it has transformed the character of the old town out of all recognition and besides, we keep crossing the paths of tourists as they mill around Stradun (pictured above) in the centre. Last night we made a run through of the show and a tourist from Italy happened to join us out of curiosity. She seemed very happy to have had this experience which led her through many parts of the city and into situations that a tourist might not otherwise encounter. While this sort of work is probably not for every tourist's tastes I genuinely believe that for a significant number of 'reluctant tourists' like the Italian woman from last night, it can be far more engaging than standardised guided tours. In a sense, with most touristic tours the format is completely familiar, it is just the content that varies from place to place. With this however it is an artistic performance which, in many ways, gives a much fuller and more vivid, subjective impression of the city, culture and people.
