Page 35 - Dark Shades of Istria
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2.2 Dark Tourism Typology
• dark exhibitions;
• dark re-enactments, e.g. annual re-enactment of battles;
• national days of mourning or remembrance;
• memorial services, opening of memorials, concerts, performances;
• significant anniversaries, e.g. centenaries;
• parades, marches, processions;
• festivals.
At the end of this sub-chapter, Stone’s (2006) ‘seven dark suppliers’ as a
basis for the discussion of this typology of dark tourism should be men-
tioned as well. According to the author, there are the following suppliers:
• dark fun factories: commercial entertainment based on real or un-
real/fictional death, e.g. the Dracula Park;
• dark exhibitions that provide death-related attractions for educa-
tional, commemorative and reflective purposes;
• dark dungeons sites/attractions related to justice and criminal mat-
ters where one can ‘feel the fear,’ e.g. former prisons open today for
education and entertainment;
• dark resting places focused on the cemetery or grave markers, which
circle around commemoration and history;
• dark shrines, which are perhaps the most non-purposeful for tourist
visits because of their closeness to (real) death, where emphasis re-
mains on respect and remembrance of the recently deceased. There
is not much tourism infrastructure, yet such events/sites are very at-
tractive for the media;
• dark conflict sites associated with war and battlefields, which re-
flect strong political ideologies in the background. History-centric
by nature and with significant educational and commemorative fo-
cus, these sites are attractive for tourism business;
• dark camps of genocides, as the darkest edge of dark tourism, that
reflect the sites of suffering resulting from atrocity, catastrophe and
genocide performed in the spirit of some violent ideology.
Stone’s (2006) typology relates to the spectrum of dark tourism sup-
ply which is the most influential typology linked to dark tourism (see
also Light, 2017, p. 281). In this model (Figure 2.2), the author identified
the main impacts and reflections of positions of death and suffering at
both sides of a continuum (the ‘darkest’ and the ‘lightest’ form of dark
tourism); each extreme side of the spectrum is additionally marked by
35
• dark exhibitions;
• dark re-enactments, e.g. annual re-enactment of battles;
• national days of mourning or remembrance;
• memorial services, opening of memorials, concerts, performances;
• significant anniversaries, e.g. centenaries;
• parades, marches, processions;
• festivals.
At the end of this sub-chapter, Stone’s (2006) ‘seven dark suppliers’ as a
basis for the discussion of this typology of dark tourism should be men-
tioned as well. According to the author, there are the following suppliers:
• dark fun factories: commercial entertainment based on real or un-
real/fictional death, e.g. the Dracula Park;
• dark exhibitions that provide death-related attractions for educa-
tional, commemorative and reflective purposes;
• dark dungeons sites/attractions related to justice and criminal mat-
ters where one can ‘feel the fear,’ e.g. former prisons open today for
education and entertainment;
• dark resting places focused on the cemetery or grave markers, which
circle around commemoration and history;
• dark shrines, which are perhaps the most non-purposeful for tourist
visits because of their closeness to (real) death, where emphasis re-
mains on respect and remembrance of the recently deceased. There
is not much tourism infrastructure, yet such events/sites are very at-
tractive for the media;
• dark conflict sites associated with war and battlefields, which re-
flect strong political ideologies in the background. History-centric
by nature and with significant educational and commemorative fo-
cus, these sites are attractive for tourism business;
• dark camps of genocides, as the darkest edge of dark tourism, that
reflect the sites of suffering resulting from atrocity, catastrophe and
genocide performed in the spirit of some violent ideology.
Stone’s (2006) typology relates to the spectrum of dark tourism sup-
ply which is the most influential typology linked to dark tourism (see
also Light, 2017, p. 281). In this model (Figure 2.2), the author identified
the main impacts and reflections of positions of death and suffering at
both sides of a continuum (the ‘darkest’ and the ‘lightest’ form of dark
tourism); each extreme side of the spectrum is additionally marked by
35
