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This paper assesses the evolution of the relationship between tourism and indigenous peoples. Based on published work on indigenous tourism in Australia, Canada, New Zealand and the United States, a six-stage model of evolution has been proposed. The model begins with (1) pre-European in situ control, characterised by high local control and indigenous theme; (2) in situ exposure occurs in the early stages of colonialism and is followed by (3) ex situ exhibitionism and exploitation as native artefacts are displayed in museums and exhibitions. The opening of remnant indigenous space to tourist visits marks (4) in situ exhibitionism and exploitation, which represents the nadir of indigenous control but fosters strategies of resistance. Reassertions of indigenous control give rise to (5) in situ quasi-empowerment, while the extension of this control to previously occupied territory characterises (6) ex situ quasi-empowerment and the presence of “shadow indigenous tourism”. The empowerment and sustainability implications of the model have also been discussed. [ABSTRACT FROM AUTHOR]

International volunteering is increasingly recognised as a form of alternative tourism. However, the nature of the ‘alternative’ experience gained, and the ensuing narrative between host and volunteer, remains under-explored in published research, especially in volunteer tourism research within a cultural context in a developed nation. This paper examines the nexus between volunteer tourism and cultural tourism in the search for alternative and sustainable experiences through tourism. Qualitative research using in-depth interviews, diaries and participant observation was conducted to examine the pre-, during and post-trip experiences of 12 Australian visitors undertaking organised volunteer activities in an indigenous Maori community in the North Island of New Zealand during January 2005. Members of the indigenous Maori community were also interviewed to provide an important host perspective. Findings suggest that the nature of the interaction and cultural experiences gained were perceived as mutually beneficial and seemingly different from those gained from traditional cultural products. In particular, the volunteers experienced an alternative Maori cultural product and engaged in a different narrative with their Maori hosts through their volunteer work, one rich in authentic cultural content, genuine and reflective of modern Maori life in New Zealand society. [ABSTRACT FROM AUTHOR]