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New handbook for LGBTQ European travel destinations

In collaboration with the International Gay & Lesbian Travel Association Foundation (IGLTAF), The European Travel Commission (ETC) publishes its first study on the lesbian, gay, bisexual, transgender and queer travel segment.

THE Handbook, authored by Peter Jordan of Gen C Traveller, aims to help potential LGBTQ European destinations understand how they can provide a more welcoming environment for LGBTQ travellers from all around the world in order to improve Europe’s overall competitiveness as an LGBTQ travel destination.

First-hand consumer research for the Handbook was facilitated by Hornet Networks through an online survey of LGBTQ consumers in five long-haul markets: Brazil, China, Japan, Russia and the United States.

Additionally, the Handbook includes insights from sixteen experts who gave their perspective on the cultural factors that shape demand for travel among LGBTQ consumers.

Research results found that overall Europe has a strong competitive position, being viewed widely by LGBTQ consumers in its major long-haul markets as ‘the most liberal, socially progressive destination’, however weaknesses prevail as some parts of Europe are perceived to offer a less safe environment for their own LGBTQ citizens, and by extension, travellers.

♦ LGBTQ travellers in Europe’s long-haul markets have a high affinity with Europe and a strong desire to visit in the near future.  80% of survey respondents expected to visit Europe in the next three years, with 92% of those who had visited before expecting to make a repeat visit.

♦  LGBTQ travellers to Europe are highly sensitive to how local LGBTQ people are accepted in society. Most of all, they value an open-minded and forward-thinking culture, as well as a history of acceptance, and local laws allowing same-sex marriage or civil partnerships. LGBTQ events and nightlife are also major attractions, especially for travellers from Russia or China where these are less prevalent.

♦  LGBTQ events and festivals are high on travellers’ wish lists when visiting Europe, as well as the opportunity to discover the nightlife. However, the research highlights that a significant number of travellers are looking for a more cultural experience, such as visiting specific sites and monuments, socialising with local people and enjoying luxury experiences. In destination marketing, LGBTQ consumers value authenticity in the marketing message and images, and consistency between the marketing promise and in-destination experience.

said IGLTA President/CEO John Tanzella. “By sharing data and resources on the LGBTQ segment with the travel industry as a whole we can create greater understanding of our diverse community.”

“While we at ETC believe that a ‘separate’ approach for the LGBTQ traveller could seem incongruous with our beliefs in equality and inclusion, we cannot ignore the fact that also within Europe, the hospitality business, like no other, has its work cut out to ensure that we remain committed to our core values of freedom, equality and brotherhood,” said Visit Flanders CEO and ETC President Peter de Wilde. “Fostering support for LGBTQ inclusion also is an opportunity for economic growth and cultural development for tourism destinations. Destinations, governments are thus called to join efforts to create the conditions for LGBTQ residents to live in safety and comfort.”

The Handbook is free of charge, and can be downloaded through the websites of the European Travel Commission and the International Gay & Lesbian Travel Association.

To download the handbook, click here:

EDINBURGH FESTIVAL REVIEW: De Profundis @The Assembly Rooms

Simon Callow gives a stunning bravura performance in this Frank McGuiness adaptation of Oscar Wilde’s famous monologue.

ON A caste black-draped stage, a sturdy chair is lit from above by an uncompromising interrogator’s light. In the chair sits Oscar Wilde, coming towards the end of his prison sentence in Reading Gaol.

He speaks to the air – verbalising a letter he is writing to his ex-lover the young Lord Alfred DouglasBosie to his intimates, – the cause of Wilde’s sensational trial and imprisonment. The story is well told elsewhere in books, films and plays, but here we have Wilde’s own words.

What Simon Callow brings to the 90 minute monologue is much more than the true-life story of Wilde’s downfall, directed with great love and care by Mark Rosenblatt.

Wilde’s bitter, angry diatribe against the young man is visceral and seat-gripping in its intensity and passion. But Callow mellows in the story’s later moments, morphing into a self-recognition – a kind of salvation. He finds his soul- as he puts it.

“The real fool” he tells us is “the one who does not know himself.” Wilde, the witty, intellectual, erudite poet and playwright couldn’t be more of an opposite than the young, decadent, carefree and careless man who literally destroys Wilde’s very reason for life.

But what Callow brings out is Wilde’s utter snobbery – it is Bosie’s total lack of imagination which disgusts Wilde – much more than the young man’s violence and utter selfishness.

The anguish of a great man sucked dry by the attention-seeking boy is brilliantly displayed as is Wilde’s total horror at his own weakness – “In an artist weakness is nothing less than a crime” he tells us.

“You wore one out. You took my entire existence” he wails, and yet it is love that has been his doomed imperative. Wilde sits he tells us “in the ruins of my wonderful life”.

Callow‘ performance is pitch perfect, nuanced – sound and fury when necessary, utter despair and weariness, genuine unhappiness at being legally separated from his eldest son.

And finally a kind of Christ-like acceptance “what lies ahead is my past” he utters prophetically .

Ironically, it’s a life-affirming performance of stellar quality by one of our greatest actors at the top of his game.

De Profundis runs at the Assembly Rooms, Edinburgh, throughout August.

Review by Brian Butler.

EDINBURGH FESTIVAL REVIEW: After Today @PQA

Bill Grundy was an erudite, surprisingly intellectual news interviewer who regularly took top-flight British politicians apart on television in the 1960s and 70s – a sort of Paxman of his era who took no prisoners.

But on December 1, 1976 all that changed in a 1 minute 53 seconds interview with an unknown punk rock band the Sex Pistols. The interview was a last-minute replacement for one scheduled to be with rock band Queen.

Grundy, a stickler for research, was wrong-footed. He was regularly drunk on air but this time his intoxication was fatal to his career.

Taking an instant dislike to the group, he goaded then into uttering a string of four-letter words and indeed said one himself in the dying seconds of the interview. His instant notoriety and the complete collapse of his career is chronicled by Bill himself in this 60 minute play – which is really worth a 30 minute monologue but here is dreadfully over-written.

Alex Dee
Alex Dee

Alex Dee does not look or sound like Grundy but he is on top form as the presenter fallen from grace, now reduced to make daytime unwatched programmes about English castles.

Author Tim Connery gives Dee all the best lines and some of them are poetic, and full some, but it feels like it ought to be a one-man show. Ankur Sengupta as a wet-behind-the ears daytime TV director is given very lame dialogue to feed Grundy’s outrageous but funny diatribes against society, dumbing down, consumerism – you name it.

As I say, it feels like Dee would have made a much better job of it on his own.

After Today runs at the PQA venue, Edinburgh throughout August.

Review by Brian Butler

EDINBURGH FESTIVAL REVIEW: Margo: Half Woman, Half Beast

Melinda Hughes is an internationally known lyric opera singer who has diverted from her main career to create the real-life role of Margo Lion – supposed lover of Marlene Dietrich, ballet dancer from Constantinople turned 1930s cabaret chanteuse in Berlin.

EVERYTHING about the tale is unlikely but enchanting. Singing the songs of Marcellus Schiffer, who Margo married, she charts the rise of Nazism, with an initial naivety that soon turns to fear. Her Sally Bowles-like innocence is appealing if worrying. “They were Jews” she says as people are taken away – “Aren’t we all Jews ?”

But her denial of the protest, arrests, murders and race hatred doesn’t last long. And her escape to cocaine, cheap booze and a topsy-turvy love affair and marriage leads to her early-life crisis. But as she says towards the end of the show “I stumbled on”.

It’s a roller-coaster Goodbye to Berlin cabaret show that captures the moment perfectly with its authentic 30’s songs .

Hughes plays Margo with coquettish delight and her operatic tones soar above the piano and double bass – sometimes perhaps too good for an also-ran cabaret performer. Singing half in German and half in English the songs are the bitter-sweet, political heart of the show and Hughes pulls them off with great gusto.

And for once there is a happy ending. Like her friends Brecht, Weill and Dietrich she too escapes the war – to return in the 1970s to her beloved Berlin – as she sings earlier “no more blame, no more shame in Berlin . Be sincere and be queer in Berlin.”

Margo is playing at the Assembly Rooms , Edinburgh throughout August.

Review by Brian Butler

INTERVIEW: Flawless’ Marlon: “I’ve sort of shot myself in the foot, by calling the group flawless.”

Marlon ‘Swoosh’ Wallen of Britain’s got talent dance group Flawless walks us through the roller-coaster journey of the show, staring in Street Dance 3D, splitting his trousers live, and the group’s upcoming tour.

 

 

IT’S A ROLLER-COASTER journey,” dancer Marlon ‘Swoosh’ Wallen exclaims when i ask about his dance troupe Flawless‘ upcoming tour Chase the dream: the reboot. It was at least thirty degrees and, despite the heat, the 2009 Britain’s Got Talent alumni was practicing relentlessly for his dance crew’s latest crazy tour. “You’re gonna be happy, excited, inspired,” he enthuses, with an infectious glee tingling in his voice. “When you watch our show, you don’t just see dancing, you walk away with a message. Don’t expect to see just street dance. We really wanted our show to be about more than just watching someone dancing; we wanted a show for people to be part of. It’s very diverse and appeals to the mass, because dance is universal.” The hip-hop dance group have come far from their days competing in the popular show Britain’s got talent, and by the sounds of it, have been through their own roller-coaster journey.

Soon after the competition, where they placed second against eventual winners and fellow dance group Diversity, the troupe saw spotlight on the big screen. “We were in two movies [Streetdance 3D, and Streetdance 2],” Marlon tells me. “One of them was number one at the box office. It was so much fun, but still tough, because we had to do so many takes and redo a move, each time matching the same amount of energy.” But despite the strict routines and filming struggles, Flawless blossomed. Marlon beams: “It was one of the best experiences we’ve had.”

 

“We are full of risks,”

 

If audiences really want to witness the essence of Flawless though, the live shows are what it’s all about, I’m told. The two time winners of the World Dance Championships flourish infront of a live audience, and from performing at the Paralympics, Olympics, MOBOs (Music of black origins), and the Queen’s Diamond jubilee, they’ve had their fair share of crazy gigs. “We are full of risks,” Marlon says when i ask about their catalogue of performances. “We’re not perfect, not every show goes well. I’ve sort of shot myself in the foot, by calling the group flawless, because we’re not. But it’s more about what we aim to be, it’s a reminder of what we want to be.” The craziest of Flawless’ shows has to be this though; the time Marlon had a mishap on stage. “It was on our first tour actually…we do this trick that’s a back-flip into a jazz split…for some reason, as I’ve gone to do this split, my trousers split at the front. I had to run off stage quick and get it sorted before i came back on and finished the show.”

 

“This was a bold decision we had to make,”

 

 

Hopefully Marlon won’t split his trousers again at their next show, Chase the dream: the reboot. What he hopes to do, however, is inspire. Packed full of crazy flips, striking visuals, and a poignant message behind it all, Chase the dream: the reboot focuses on escaping the mundane. “People get caught up in a nine to five job, they’re stuck in their day to day lives, they forget their dreams. Our show is what it says on the tin, really. It’s about chasing the dream, and people following their passions,” Marlon tells me. It’s topics maybe down to earth, but oddly the show itself is set in space, upon an ‘intergalactic dream ship’. The inhabitants, 10 astronaut/dancers, fight for their dreams, as an overwhelming wall of doubt and eventual nightmare dawns on them. From how Marlon describes, it sounds like a metaphor for real life, and the hope of chasing a dream. But why is it called the reboot? “Well, back in 2010, we did a tour called Chase the dream.” He explains with a glowing sense of enthusiasm. “It did really well, and it great, but we wanted to bring it back. We thought now was the best time because it’s been nearly ten years since and we want to reintroduce ourselves, and bring the message, to a new generation so they can see our work.

 

“Don’t expect to see just street dance,”

 

Flawless wasn’t always around, of course, and before he started the troupe, Marlon was a successful backup dancer. “My solo career has been an incredible journey for me. I managed to work with alot of big names before, but you’d be dancing for like Britney Spears or you were able to experience dancing on like pepsi chart, top of the pops, and it wouldn’t go any further. You can dance on those shows but no-one would know who you are. Only my family and people i know would see that and be like ‘i know that dancer on there,’ or people in the industry might know who you are, but that’s as far as it goes. You don’t hear about any solo dancers. There aren’t any famous solo dancers out there, except for maybe one or two, but in a group dancers make it further. After a couple of years, i felt like something was missing. I wanted to be more than a backing dancer; i wanted to be a brand, and develop our own dance company. So i started Flawless.

 

And develop their company they did, with the additional help of Britain’s got talent to propell their brand further. But the reality competition could have met a member of Flawless much sooner then 2009. “My friends and family would say to me, ‘why aren’t you on that show? You should apply.’ But i didn’t, i didn’t want to because i knew the hard work it takes to make it in the industry. Shows like that are great, but they don’t show the industry properly. Some people think you can go on those shows and you’ll make it over night. But it’s alot of hard work, and it takes alot of drive and to understand the industry properly before you can get anywhere. We used Britain’s got talent as a way of initiating our national profile, once we were ready. It was like a platform for us to show the world who Flawless are and what we do.” he explains.

For Marlon, the drive and knowledge needed to start in the dance industry was ignited when he was just four. “My love of dance stems from my family really. My mum liked Michael Jackson and i would watch his music videos and copy the moves when i was four. I would watch those, and learn the moves off by heart, and as i got older i thought ‘who taught Michael Jackson how to dance’, so i started to research it. I learnt about them and eventually developed my dance style,” he recalls. “I’m self taught mostly, the only training i had was when i studied a BTEC in dance,” Marlon continues, with a striking sense of admiration for his craft. “The BTEC was tough because i was young and narrow minded,” he laughs. “I would have to learn things like jazz and contemporary but i would be like ‘why would i want to do that, why would i need to know that, i want to do street dance,’ it wasn’t till i started performing properly that i realised how different styles influence eachother. Like, with Flawless, we did a show with the English national ballet, i want to bring that one back aswell actually, and it was awesome. It was incredible how we could mix in the styles.

 

“I had to run off stage quick,”

 

Learning about the industry is clearly an important fixture in Marlon’s success, and the group hope to pass the torch, as it were, with their own version of current dance academies. “We opened our own dance school in Vauxhall. It’s like we have our own mini Flawless group carrying on from us. Dancers are lucky now because, when we started, there weren’t really any dance schools or anything like that to teach us. And dancers now need that sense of direction from somewhere like that.

Through their own school, Flawless hope to inspire other young dancers, but the group themselves have found their own inspiration from less conventional sources. “It sounds really corny,” Marlon laughs, “but I’m inspired by life. Dance is life to us. It’s a sort of universal language; it’s message can reach anyone, so we can speak to anyone about life with our performances. Music does a similar thing, but dance has its own language so anyone can understand, and we can spread out message further.”

It’s clear that Marlon is passionate about dance, and it plays an integral part of his life, but what if the group never formed and Marlon wasn’t a dancer? “This was a bold decision we had to make, choosing dance. It’s not an easy profession; we could have gone into other jobs, but dance was it for us,” he enthuses. It’s a good thing the group never gave up on their dream, despite obstacles, and the troupe hope to inspire others to do the same with their upcoming show.

Be sure to catch the crazy flips, poignant messages, and possible pant splitting, on September 3rd at The Hawth, Crawley.

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