Abstract
This paper explores the discriminatory power relations inherent in sanctifying pre-eminent individuals at the expense of cultural context on the Memphis tourist and heritage trail. It positions Graceland, Elvis Presley’s former home, as the dominating force in the Memphis heritage ecosystem, overshadowing the many museums devoted to black music and culture, such as the Civil Rights Museum and The Rock and Soul Museum. Memphis museums may benefit from the tourism that Graceland attracts, but there are many who feel that local histories are warped by its gravitational pull; indeed, the Memphis chapter of Black Lives Matter initiated its Shut Down Graceland campaign in 2016 in protest at the museum’s power and status in the city. That Elvis was a musical and social integrationist is not in doubt. However, the commercial packaging of the public memory of Elvis’s progressiveness appears specious in that it both deflects criticism and contributes to social problems. For example, the corporate structure of Graceland’s owner, Elvis Presley Enterprises (EPE), prevents tourist money from circulating locally, aggressive enforcement of intellectual property rights prevents residents from selling unlicensed memorabilia, and Memphians pay tax to fund public services while EPE secures tax breaks. Consequently, my hypothesis is that Elvis and his memory have effectively colonised Memphis tourism. Thus, my paper utilises decolonisation methodologies to critically examine the ideological position of Graceland in Memphis’s heritage ecosystem.
Presenters
Anthony Mc KennaSenior Lecturer in Film, Liverpool Screen School, Liverpool John Moores University, United Kingdom
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
2024 Special Focus—Tourism, Leisure and Change: Transforming People and Places
KEYWORDS
Decolonisation, Museums, Tourism, Heritage, Music
