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THIS IS A PHOTO OF KELOWNA, it represents the myth of the unchanged because of XYZ and ...

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This image reflects the unchanged colonial myth. This image is targeted to not visiting India as a whole but instead visiting the Taj Mahal specifically. With the language of this advertisement, it's also targeting a specific audience when it talks about visiting temples. The quote at the very top of the page talks about culture and spirituality which seems to be targeting Western, white individuals who are wanting to go on a "wellness retreat" and wanting to feel more "zen". This ad doesn't seem to benefit the locals either and how it only shows one half of India where it is the most popular and when you think about India not much comes to mind. Only the large temples, like the Taj Mahal and the safari which reflects back to the Kenya reading where it was mainly the safari's that brought the tourists in. Same in Antigua, where it was the landscape/beaches that brought the tourists in and not the actual culture and locals. It also advertised as a "unique experience", when in the very back there at least fifty people experiencing the same experience. They market their advertisement as easy and they do all the work for you, including food, transportation, activities and local English speaking guides. With the local guides we questioned how local are they? is it a white speaking male who has lived in India for a fair amount of time to be considered local? Or is it an actual local, who was born in India and this is their job? The photo was also questioned how authentic is it? It gives off very Instagram and it's displayed to look aesthically pleasing.

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This is a picture of a private island resort in Jamaica, owned by a British descent Jamaican local.

Colonial Myths: Unrestrained. Its pictured as a white sand beach with beautiful blue water, a place to relax in a paradise and slow down in life. As well its place of freedom and escape from the western way of life. It is private, mysterious and a romantic getaway where a tourist can indulge and enjoy the unrestrained nature.

Postcolonial Interpretation:

It portrays a false narrative of the real Jamaican cultural. It creates a wonderful fantasy for the tourist which a local will often never experience. Resorts cabanas make is unnatural and unrealistic from what Jamaica really is. The resort doesn't even simplify the cultural it just complete erases it, especially since it is marketed as "Jamaican resort with a British accent". The owner of the resort lives in Jamaica most likely do to colonialism and he is able to profit off the land and the locals of Jamaica. The local Jamaicans will most likely never have the opportunity to become a tourist, where as the owner and tourists profit and get to enjoy their land.

Cultural code/norms that reflects western authorship:

The brochure is marketed towards the western cultural, only having white people in the photos. The architecture is very westernized and make comfortable for the tourists. As well marketed as a way to escape the western world and enjoy a romantic and relaxing get away.

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Pair - Callista Bast and Emily Dousselaere

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Pair - Callista Bast and Emily Dousselaere

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This image reflects the myth of the uncivilized because when thinking about a place being uncivilized or primitive, you may picture what this image portrays: an untouched island that is beautiful with no one else around. This image shows idealization, which shows that the island and its people are simply uninfluenced by modernity, reinforcing the stereotype of a "natural" world that needs no civilization. The beach is shown as peaceful and calm, creating the narrative of the uncivilized world that is a place to escape from “Western Society” and all the complexities of “modern life.” This type of image aids in reducing the culture and history of the island and its people and merely reduces it to a paradise for Western people to enjoy as a paradise. The image also reflects the myth of the unrestrained because of the wide open water and extensive unrestrained forests in the background. The woman in the picture also represents the myth of the unrestrained because of the attire she is wearing. The swimsuit represents a sense of freedom and openness. The image reinforces the colonial myth of the unchanged by portraying the island and its inhabitants as timeless, untouched by modernity or history. The pristine, unspoiled landscape and the surrounding nature are displayed in a way that ignores the real historical, social, and cultural changes. This romanticized view, often framed through a colonial gaze, exoticizes the land and its people as primitive and unchanging, perpetuating the idea that such places are designed for Western space and enjoyment, disagreeing with the history and people of the land they are guests in. In conclusion, the image represents all three colonial myths. It perfectly depicts the visual cues that Western tourists idealize and creates a scene representing the colonial dream vacation.

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This is a photo depicting Western tourists on a trek through Madagascar and represents all three of the colonial myths supporting Tucker and Akama's argument (p7-8). Although the myths of the uncivilized and unrestrained contradict each other, depending on the viewer's perspective and positionality, both myths could be supported.

Unrestrained: This photo displays only white tourists, strengthening the idea that the "typical tourist" is a Western individual, therefore reinforcing colonial narratives and neocolonial structures that persist within tourism. Consequently, this image promotes the idea that the beautiful scenic tourist destinations within Madagascar are designed for a certain demographic— a white individual, most likely with sufficient income. It is also to be seen that a native tour guide is at the front of the pack of tourists, showing them the landscape. This can be seen by the tourists as the native tour guide bending over backward to serve the them, and catering to their interests during the guide. Because this image depicts a guided tour, it captures the viewer's interest by promising an "authentic" experience, showing only the most captivating parts of the land, further demonstrating the myth of the unrestrained, as tourists are presented with what "paradise" looks like. Altogether, this reinforces tourists' entitlement and expectations for full satisfaction and happiness during their trip, fostering a sense of invitation for tourists to occupy the land.

Uncivilized: By reinforcing the narrative of tourism through Western individuals, this image reinforces Tucker and Akama’s colonial myth of the uncivilized by displaying the “western, colonized, civilized” group of individuals within a “primitive, uncivilized” destination. These individuals are following a local tour guide, advertising an “authentic experience” to tourists, allowing them to step into, and romanticize, the life of these “uncivilized” individuals. Additionally, because this image only presents a group of white tourists, it permits those seeing the image to create an "othering" narrative. Most likely, western individuals flipping through this brochure will identify with the group of tourists, further distancing themselves from the locals and Indigenous communities that live there, and therefore creating an "us" and "them" narrative and mentality which carries into their travels.

Unchanged: Within the photo, it depicts ancient-looking mountains that form a sense of historical paradox, like a "step back in time." Madagascar is seen as a very “untouched,” “unseen” land from the perspective of the photo, leading tourists into wanting to travel there to have a sense of authentic touristic experience. This can lead into a hierarchical superiority or conqueror mindset towards the native people and place of Madagascar.

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The image we chose follows the uncivilized and unchanged myths as it represents a tourist hub where you can experience an authentic experience of the Caribbean. The Caribbean offers “untouched waters and flavourful food you cant find anywhere else” (Aircanadavacations). The myth of unchanged is heavily influenced in this brochure, creating a sense of wonder and excitement. The brochure markets the ocean and surrounding areas as untouched and historically accurate, following the narrative of tourists craving the sense of unchanged land. This portrayal perpetuates the stereotype that the culture is static, ignoring their history, complexities and adaptations they’ve made overtime. In the bottom left corner of the brochure, the idea of a “main” corridor that’s romanticized with its vibrant buildings and spacious walkways allowing for tourists to explore and interact with locals. This is a specific market strategy to maintain tourists attention and encourage them to spend money. The idea of simplicity and a ‘pure’ way of life is imperative and very apparent in this brochure from Air Canada.

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This image is taken in Cambodia and is showing a tourist up close with history at the Angkor Wat, a Hindu-Buddhist temple. This image reflects the myth of the unchanged. The destination is showing history of Angkor Wat and how it has been unchanged and it's encouraging tourists to come and experience temple hopping to gain a unique experience. They are advertising going back into time to a world of ancient civilization. The image is proposing getting close to "history" to experience authenticity, by being "face-to-face" with the structure. The travel agency is highlighting the "uncovered" of Cambodia, as in their name of "Cambodia & Laos uncovered", setting this destination as a place perfect for reliving the experience of archaeologists. The tour is advertised as a nine day experience to come tour two countries and explore colonial architecture and ancient ruins. This short period of time is supposed to give the tourist the "full" culture experience. By encouraging tourist to be apart of ritual ceremonies and temple hop.

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This image is an example of unrestrained tourism, which is made to draw in richer, wealthier clientele by selling the Caribbean as an exotic place. This has a negative impact on the local history and culture. As tourists are not learning about the local culture and history, they are instead spending money on tourist traps which do not help the local people. In the image, the language conveys a sense of freedom and escape such as the idea of "getting far away from the everyday." It presents the Caribbean as a place where visitors can leave behind the problems of their daily lives, promising exotic adventures like exploring Mayan ruins or lounging in relaxation. This plays into the notion that these regions offer boundless enjoyment without the burdens of modern civilization. To sum it up it is taking a developing country to rich and wealthier individuals for their amusement. It is a cruise so they are targeting individuals above 40 or well into their 70s that are wealthy and have very little interest in learning about the local culture.

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This is a picture of St. Lucia, a small island in the Carribean. This picture represents the myth of the unrestrained because it very much appeals to the idea of a "paradise" location, with blue water and sprawling green fields. This picture promotes the idea of sensuality and self-indulgence through a large landscape that draws the viewer to question what all is possible and what they might partake in here. It appears as more of an all-inclusive resort, drawing people to visit and partake in as much as they can. It also interestingly features a wedding check-out, furthermore inviting people to come and indulge during a special event where they might do so. This displays a postcolonial narrative in how the staff and much of the residents of St. Lucia have careers in the tourism industry, wherein Western tourists come to be pampered and taken care of by the residents, and as Kincaid discussed, very likely might be that the resort is under foreign ownership. Those working at the resort have to be careful to cater to the every desire of the tourist, because it is their entire livelihood.

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This supports the argument of the unchanged myth. Tourism in Jordan preserved the creations of ancient culture. Western cinema has often stolen the location to create entertaining movies disregarding the cultural impact of how this location would be seen in the future. Through this brochure we see the commodification of ancient culture to fuel the desire of tourists to feel like they are stepping into history. Despite tourists wanting to enter the locations, entry is blocked off to the public to ensure it remains unchanged. This myth promotes the idea that Jordan and the city of Petra is waiting to be "discovered" while discarding the complex history and growth of the city and country itself. It is often described by being "discovered" by europeans in the 19th century, despite the fact that it was created by humans. How can something be discovered by people when it was already made by people.

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This is an advertisement for resorts amongst various islands in the Caribbean. It expresses the colonial myth of the unchanged, bragging about privacy and pristineness that seems like code for assuring their customers the locals won’t bother you here. It reinforces that the only locals you will have to interact with will likely be the ones serving you. The top left photo is particularly striking as it shows a “traditional” structure in the middle of deserted beach with the family looking away into their own world as they are waited upon by one of the few non-white people pictured in this advertisement. The caption says that the resorts are always on the “calm side” of the islands, which begs the question of what calm means to them. From a neocolonial perspective, it sounds like it is alluding to that idea of avoiding uncivilized or unrestrained locals.

Looking at the brochure, I can’t help but feel that the transformation of foreign lands in the Carribeans for activities depicted on the brochure is somewhat pointless or repetitive. Not only are many of the activities resource intensive in some way or form, but why would you go to the Caribbean to do activities that can be done back home? Outside of maybe scuba diving in a new environment, activities such as waterskiing or ziplining can be done in your home country for a fraction of the price. Maintaining these activities and vacation spots also inhibits economic development for a diverse economy, with lands and monetary assets used for beach resorts and golf courses prevents those same resources from being used to improve farmlands, set up sites of research, or enhance opportunities for higher paying jobs. This means that the countries in the brochure are reliant on both menial labour (for many of the service jobs) and the arrival of tourists for their economy, something that relies on the rest of the world being stable and rich enough to afford vacations.

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This photo was taken on Train Street, Hanoi, Vietnam. We selected this photo because it accurately portrays the ideology that Western people enjoy travelling to third world countries that are much poorer than the tourists themselves and seek a sense of solace and relief in the warm weather while locals are struggling with poverty. The travel website being advertised shows white women (Westerners) in Vietnam (third world) and offers the chance to meet "likeminded people" which reminded me of the Mill Reef Club in A Small Place where it drives the imperialistic view that Western culture travels to foreign countries but tends to only interact with people like themselves. The photo only shows one or two Vietnamese people, while the whole street is filled with white people. The Vietnamese tend to be on the different side, and not showing signs of interaction with any of the Westerners. Further implicating the imperialistic tourism ideology.

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The image of Cancun, Mexico, and its surrounding tourism, such as the Teotihuacan pyramids, resorts, and activities like boating on a lake, offers a complex perspective that ties into the themes of postcolonialism as discussed in "Tourism as Postcolonialism" by Tucker and Akama and Jamaica Kincaid’s “A Small Place.”

This representation reflects the colonial myths of unchanged. The pyramids, a symbol of ancient Mexico, are marketed alongside modern tourist conveniences like resorts, catering to Western tourists who seek a romanticized version of the past. Similarly, as it mentioned in A Small Place, Kincaid explores how Western tourists view Antigua through a colonial lens, reducing it to a place of endless beauty while ignoring its historical and socio-political realities. Similarly, Cancún's portrayal as a great destination emphasizes its indigenous culture, natural beauty, and ancient history while stripping these elements of their complexity. Furthermore, like Kincaid in Cancún, tourists are treated as the primary beneficiaries of tourism, while locals are relegated to the background, serving the tourists' needs. The cultural codes present resorts, food, and beaches as staples of comfort and enjoyment. Reinforce Western standards of luxury and relaxation while sidelining the realities of local life and history, thus promoting a neocolonial narrative. Last but not least, Kincaid's account demonstrates how visitors have an innate influence over the local populace, who are mainly there for leisure. This is similar to Cancún, where the colonial pattern of exploitation is perpetuated by portraying locals as little more than service providers in tourism marketing. For example, during our stay at a resort in Cancun, we noticed a clear emphasis on catering to Western tastes, especially in the food selection, which offered a variety of cuisines rather than focusing solely on traditional Mexican delicacies

Last but not least, the themes in A Small Place by Jamaica Kincaid, where she critiques how tourist destinations are often shaped to serve the desires and comfort of foreign visitors, rather than offering a genuine cultural experience. Similarly, The activities of Mexican culture were often modernized and adapted to fit a more cosmopolitan, tourist-friendly image. Cancun, renowned as a tourist hub, embodies this dynamic as it is designed to create a familiar, comfortable environment for tourists rather than immersing them fully in local culture. Much like Kincaid describes in her book, these resorts present an experience that reflects more of what outsiders expect to see than the authentic essence of the place itself.

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1. The pictures perpetuate the myth of the unrestrained because:

1. "Here, on an exotic island paradise..." --> Portrays Grenada as a fantasy leisure place, free from the restrictions of modern life.

2. It highlights Grenada as a less-developed country that is just useful for the pleasure of tourists.

3. Creates a huge juxtaposition between how luxurious the hotel is and how poverty-stricken Grenada is.

2. Contributes to colonial forms of representation:

1. All the tourists shown on the page are white.

2. "European-inspired bathrooms" and restaurants.

3. The writing style and format of the ad are clearly aimed at Western tourists.

3. As discussed in "A Small Place" it is very likely that the resort is under foreign ownership, and does not contribute to the local economy (except for the hiring of locals).

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This is a photo of an island in Cuba. We chose this photo because we believe that it reflects the colonial myth of the unrestrained. This is because it shows a landscape that does not look like it has been touched, the sand, trees and water all look picture-perfect and serine, like a paradise. The picture depicts a wooden beach walk that alludes to the "path to paradise." This is an example of being unrestricted and liberated, free to explore the beach and do as you please ("paradise"). The image also captures Cuba's natural beauty, with its old wooden walkway and views showcasing the island's true beauty and how unrestrained it has remained. This picture makes tourists feel like if they were to visit Cuba they would be treated like kings and everything would be done for them and they wouldn't have to worry about anything. This could further the power imbalance between tourists and locals because if the tourists are going to be taken care of, leaving the locals to take care of the tourists and wait on them hand and foot.

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The photos support the myth of the uncivilized. These images portray that they are in poverty, allowing the potential tourist to want to visit for the desire of an authentic experience. The bottom right image looks like the kids are in an outdoor school, sitting in the dirt, representing how they look out of touch with reality. They are showing these images to display a particular culture and experience that they may not be actually experiences. These photos also relate to the myth of the unchanged. The methods they are demonstrating in these images look very old fashioned and undated. Drawing the tourist in to a more outdated, authentic looking experience. Without tourism, they could have development, leading to progress within their community. The top right photo of the lodge looks very clean but old fashioned, there is no tv of fridge in the space which is connecting back to the myth of the uncivilized. But they aren't progressing their economy for the need to please the tourist. The bottom left image talks about the ability to come and help build schools. They are doing this to please the tourist rather than have progress to their system. This connects to the image of the school kids. The tourists are coming to help build schools leading to them meeting all the kids which can have a drawback on their education. If they are meeting tourists all day, are they really learning? The top left image shows meeting the locals. In the image it looks like the local is happy but they are just capturing a moment. Overall the perception of this place is very old and worn down, allowing the tourists to desire an old fashioned, authentic experience. Our western cultural norms allow us to perceive India in this very specific way. The author is capturing India in a very particular way that many other western individuals also probably perceive India as. Overall from these images within the brochure can allow us to support the argument that the colonial narratives shape western tourism.

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This picture displays a strong sense of the myth of the unrestrained: the advertisement clearly states that Bora Bora is a place to “cast off your worries in this secluded paradise.” Furthermore, the idea of Bora Bora being a present-day desirable paradise is alluded to when the ad refers to the location as a “precious landscape” and where your adventures will undergo a “serene makeover,” which supports Tucker and Akama’s argument. The myth of the unrestrained is also at play when we consider that this ad focuses on sensual content, such as “ warm, gentle breezes,” and “new, sun-kissed meanings.”

Moreover, this advertisement is a perfect representation of Jamaica Kincaid’s statement: “…so when the natives see you, the tourist…they envy your ability to leave your own banality and boredom… your ability to turn their own banality and boredom into a source of pleasure for yourself” (Kincaid, 19). This quote connects perfectly to the ad’s line, “lull yourself into complete relaxation…”.

This article is aimed at Western cultures and people, for it advertises what Westerners tend to value in a vacation, as well as advertises what Westerners don’t necessarily have access to which leads to an idealized lifestyle that only Bora Bora can provide.

In “Tourism as Postcolonialism,” the authors talk about how authorship of location representation is an important element to criticize ongoing colonialism in tourism (Tucker and Akama). This ad is clearly meant for Western tourists to devour the tropical and bright aspects of Bora Bora tourism, even though this may not actually be the case or the reality for the locals there.

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This Island Hopping Tour of Northern Thailand is advertised as having the authentic "backdoor" Thai experience. It highlights the immersion into culture from a privately curated local perspective.

This tour highlights the myth of unchanged in the sense of visiting temples, the grand palace and other major historical sites through the perspective of the tourist company with a special highlight on a WW2 cemetery which caters to the Western tourists. Things such as temples and the grand palace promote the timeless aspect that allows tourists to jump back in time.

It also highlights the myth of unrestrained aspect by mentioning beautiful waterfalls, authentic Thai massages/food, nightlife, and a visit to the Elephant Nature Park. It allows tourist to indulge in free exploration curating to the "authentic" Thai culture and promotes the ability to disconnect (indulge in leisure). It also promotes the tropical paradise through environmental immersion via jungle rafting which forces a sense of disconnect (note: contradicts this by promoting photography which as Kohn noted actually creates disconnect). This trip creates a sense of self indulgence and sensuous experience.

The article hides the myth of uncivilized but promotes Western cultural experiences which erases the authenticity of actual Thai culture and instead promotes colonial narratives. It hides the sense of Thailand as being untouched as noted through the promotion of WW2 history.

The whole advertisement promotes a magical experience through Western authorship but doesn't show the true nature of Thai culture. It hides any negative aspects such as poverty, crime/corruption, sex trafficking etc. Instead it promotes tourism that Western society wants to seek for the "authentic" experience. It tailors to classic tourism advertisement of massages and cooking classes etc.

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This representation of Hawaii represents the myth of the unrestrained in multiple ways. One way this is displayed is through touristic language that presents Hawaii as a welcoming environment that is willing to invite you into their culture. One example of this encouraging the use of Hawaiian words such as “Mahalo” which presents the idea that Hawaiian culture encourages immersion with tourists. This is not a true reality because as a colony, residents have been restrained by monetary means to invite foreigners into their environment and culture to keep the economy going.

Some of these images and text also represent the myth of the unchanged. The text used to market the Honolulu image for example labels Honolulu as "the historic heart of Hawaii", with "unspoiled" landscapes. This wording reflects the myth that the city has remained unchanged and is filled with history, however, the image goes against this narrative because it shows huge skyscrapers lining the coast which has no historical value to Hawaiian culture. The cultural history that the city claims to have is beneath layers of development that the city has built for tourism.

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This photo embodies mainly the unchanged and unrestrained colonial myths. The tourists posing with the monks represents western fascination with ancient eastern religions and how they often imagine the followers as unchanged from their ancestors. The monks posing with the tourists plays into the servitude roles within the myth of the unrestrained. As well as the western perception that monks and people within South East Asian countries don't experience the same restraints as the western tourists, that they live a more natural, free, and spiritual life. Much of the language used in the advert is playful but ultimately diminishing of the experiences it offers. Firstly, it's called Asian Adventures with a corresponding hashtag. They use the words "unique", "authentic", and "ritual", this subtextually appeals to the western orientalism and othering of eastern cultures. On the backside of the advertisement they promote an experience specifically to be posted and make people on their feed jealous as well as the hashtag #cambodialoasuncovered. This upholds the social media lens of tourism and cheapens the experience. On both sides they advertise what they call "temple hopping" which likens visiting religious sites to pub crawls. This portrayal of South East Asia is to specifically capture the attention of White western affluent tourists desire for easy carefree, yet spiritually inclined travel.

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This is a Photo of Grand Bahia Principe and resort in Punta Cana.

This text and image reflects the myth of the unrestrained. It does so by illustrating Punta Cana as being a present day paradise, where tourists and guests are encouraged to self-indulge on all the amenities that the Grand Bahia Principe has to offer, including the white coastal beaches and the warm sunny weather.

It should be noted that the amenities are addressed to tourists from the west, and it does not fully represent the true Dominican Republic experience. Since the resort is managed from the west it does not present  the actual Dominican republic life but shows the Dominican life from a western lens, and how tourists would expect to see it.

The tourism industry is designed as well as managed by interests from the west. Additionally, it has been stated that tourism is a form of postcolonialism, and this is also evident in the brochure since the text and the images reproduce the colonial myths. Moreover, these colonial narratives uphold western tourists as “superior” As a result, tourists rely on a colonial base and merely confirm the discourse which persuaded them to take the trip.

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This tourist add promotes a luxury all included vacation for couples (18+) only, on Pink Gin Beach in Grenada. The ad depicts the colonial myth of the unrestrained as this add signifies a "present-day paradise" (7). It is a very popular trope and desire to want to escape our mundane (western) worlds to explore and relax in the tropics. The ad does this by depicting a couple walking on the beach. This is a photo that we see time and time again in marketing for tropical vacations. However, as Kincaid mentions in A Small Place these spaces such as Grenada are depicted in a singular narrative but there is a deep history that is ignored. As it would shock many tourists to "know the number of black slaves this ocean has swallowed up" (14). While this is in the 'past' it made us think of Christina Sharpe The Wake, in how the 'past' is part of our present; while the waters are beautiful to the tourist Sharpe's research reveals how there are particles and residue from bodies of slaves who tried to escape because of the wake.

The ad refutes the myth of the uncivilized as the space in the photo includes hotels and "pools in the sky and living rooms in pools" making the land touched and fixed to attract a certain tourist; one with the desire to relax suppose to explore (i.e. hiking). It also refutes the myth of the unchanged as the destination is consistently modernized to appeal to upper class western people (most popular tourist demographic). Lastly, these all inclusive resorts, often portray a space that offer a multicultural experience through cuisine as depicted on the bottom of the ad. This resort offers a one stop shop to experience "authentic" cultures; however, we must question what appeal this has to the western tourist.

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I chose this image representing the features and activities provided at the Walt Disney World Resort, however this image does not depict any of the three colonial myths. This image refutes the argument of the three main colonial myths; firstly this resort is always changing, as talked about on the brochure they are announcing the opening of 3 new events which directly refutes the unchanged myth. Secondly it refutes the argument of the unrestrained myth as there are plenty of rules in this resort considering the amusement rides and the lines for the rides, as well as there is minimal violence. Thirdly it refutes the argument of uncivilization as this has been a civilized place for a long time and does not have to deal with any primitive actions. I do not find many notions that relate this brochure to western authorship as they boast their worldwide music selection and the hiring of the best chefs around the world to elevate the international food atmosphere at this resort. The only thing I think of that relates to western authorship is the events that they advertise here in this brochure as it relates more to western civilization opposed to worldwide.

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This image confirms the ideas of neocolonialism and post-colonialism. Firstly, it confirms the colonial myth of a location being unrestrained. This description describes Seychelles as a “heaven” and “paradise” due to its beautiful beaches and environment. The words “enticing” and “romantic” emphasize the sensual and self-indulgent components of this unrestrained myth. It encourages tourists to observe without limits and promotes the gazing / perverted eye on the natural landscape. This photo also confirms the colonial myth of a location being uncivilized/untouched. Because they present the tropical jungle, and the underwater creatures/plantation as untamed. The word “unique” gives the tourists the idea that they’re experiencing something other tourists have not. After reading Tourism as Post-colonialism, and watching A Small Place I can analyze specific words and phrases. These advertisements portray Seychelles as a dream location, pushing aside the economic, political, and environmental issues it may have. A Small Place says the unreal beauty Seychelles has while its people are free, is the same unreal beauty it had when its people were slaves. Often, these locations in tourist minds are independent and are advertised like they are distinct from continents like Europe and North America. In this advertisement, they often use the words “us” and “our”. A tourist would assume these cruise and yacht companies would be rooted in the small African country, but this is most likely not the case. The majority of the revenue would flow back to the countries many of these are tourists from. To their surprise, many of the accommodations they stay in on the island were first established and are controlled by colonial countries, continuing the cycle of economic dependency and colonial rule in Seychelles. Travel companies advertise these beautiful locations, emphasizing beaches and the water. However, they don’t advertise the history of colonial power dynamics that boosted the tourism industry in these countries, the pollution coming from the boats, or where tourist waste goes. They don’t advertise how the majority of the native population is working for the tourist industry, and how they could never afford to participate in these trips as tourists. The local population are the ones cleaning, setting up accommodations, serving/ growing food, and providing transportation. Travel advertisements don’t advertise how this system is a repeat and modernized/dressed up version of oppression, exploitation, and slavery.