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.

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. 

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.

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.   

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.

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.

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. 

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.

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.