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• Sex on the Beach: The Yin Yang of Female Sex Tourism in Two Films. Marilyn Adler Papayanis; October 31, 2012.
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Sex on the Beach: The Yin Yang of Female Sex Tourism in Two Films“I didn’t come all the way down to Jamaica to become a slut.”— How Stella Got Her Groove Back. With the recent screening of Ulrich Seidl’s Paradise: Love at the 2. Cannes Film Festival, the spectacle of female sex tourism has washed up, once again, on the shoals of popular culture. According to reviewers, it is not a pretty sight. Women who travel to the spaces peripheral to “modernity” and, by the way, have sex with the natives are not rare; however, in the continuum of capital expansion that stretches from colonialism to globalization, such practices tend to lose their luster as a kind of radical cultural immersion.

For men, of course, such sexual adventurism would hardly qualify as a narrative with anything new to say. The notion, however, that women would travel to remote or less developed parts of the world for the express purpose of having sex with men who are, in many cases, younger and poorer than they are seems to cut against the grain. Yet many studies show this to be the case. Whether characterized as “sex” tourism (commercial sex with the locals) or “romance” tourism (commercial sex with the trappings of a “real” relationship), this practice has inspired a good deal of academic research in the social sciences and in popular literature as well.

In her 2. 00. 6 book Romance on the Road: Traveling Women Who Love Foreign Men, journalist Jeanette Belliveau describes her subjects as “sex pilgrims.” According to the Amazon review, her book is “the complete reference for anyone who wants to learn about a hidden phenomenon that affects hundreds of thousands of traveling women and foreign men: Instant vacation love affairs that banish loneliness, provide cultural insights, offer one- on- one, hand- to- hand foreign aid to the world’s poor, create international children and sometimes even change the course of history.”Who can beat that? I believe, however, that the representation of female sex tourism in the cultural imagination is also worthy of study, as such depictions reveal a great deal about the anxieties aroused by the “aging” woman’s sexuality. The staging of this cultural moment is explored in two radically different films, both, coincidentally, derived from works of fiction: the breezy How Stella Got Her Groove Back (1. Terry Mc. Millan, and the far more disturbing French film Heading South (2.

Haitian writer Dany Laferrière. Both films indulge the notion that sex in the tropics with a dark- skinned exotic youth is all it takes to cure the malaise of the older woman. In one sense, the autonomy of the woman traveler is a real marker of progress.

Sadly, though, the representation of female empowerment in these films is either complicit with racist attitudes still fraught with the lingering spirit of colonialism (Heading South) or in thrall to patriarchal norms (Stella.) In the former, sex tourism is punished; in the latter, it is celebrated. We learn from the literature that women who sleep with the locals are not a uniform class. They vary in age and in their choice of destination; they vary in terms of their motivations and attitudes toward both their exotic partners and the imaginative geographies in which their partners are embedded. Improbably, for example, the Sinai is a popular venue for cross- cultural couplings.

Some “ethnosexual” boundary crossings appear to pass unnoticed, while others are more disturbing, usually because they involve pairings between privileged white tourists of a certain age and marginal youths who navigate the interstices of the official institutions of tourism. Joane Nagel first used the term “ethnosexual” to describe “the intersection and interaction between ethnicity and sexuality and the ways each defines and depends on the other for its meaning and power” (1. In the Americas, Jamaica, the Dominican Republic, and Costa Rica are popular venues for the pursuit of ethnosexual adventurism. These are destinations where the opportunity for women to have sexual or romantic liaisons with exotic Others further complicates the shadowy social relations in the “contact zone” where, for centuries, sexual commerce between male travelers and the natives, male or female, have followed, roughly, the contours of imperial power. The term “contact zone” was coined by Mary Louise Pratt in her groundbreaking study Imperial Eyes: Travel Writing and Transculturation to describe “social spaces where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination, like colonialism, slavery, or their aftermaths as they are lived out across the globe today” (3).

Travel as “displacement” has long been associated with experimentation, growth, and transformation — the possibility of being “other” to oneself. Certainly, there are aspects of female sex tourism that resonate in positive ways: empowerment (the realization of, or receptivity to, desires and subject positions that would be considered taboo at home) or its opposite (a dismantling of the self whereby power is repudiated, a more powerful impulse in male travelers) — or, of course, some constellation of these and other motivations. In the contact zone, where travel is shadowed by the ghost of colonialism, the lingering residue of oppression tends to muddy the waters of human commerce, rendering suspect the desires of western sojourners. The fictionalized representation of female sex tourism and, more particularly, its visual dramatization in film reveals a conscious (or unconscious) investment in this residuum.

Edward Said used the term “imaginative geography” in describing how the West, in effect, “made up” the East according to its own emotional and cultural investments, as opposed to any observable reality. It is a useful one. Both Heading South and How Stella Got Her Groove back are heavily invested in imaginative geographies organized according to a common set of polarities, a cluster of binary oppositions that rotate around essentialist notions of culture, place, and gender. These, in turn, resolve into a web of enabling fictions that drive the narrative.

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So, for example, the juxtaposition of the developed “north” with the less developed “south” of the Caribbean carries with it a set of related cultural associations that can be valued positively or negatively: artificial versus natural or authentic, plenitude versus barrenness, work versus leisure, discipline versus laxity, exotic versus familiar, savage versus civilized, to name a few. This carries over to the “native” male as well (provided he is young and attractive), who is perceived as more natural and virile than the man of the north, be he black or white. But while Heading South is clearly a “text” of the contact zone, Stella has no interest in moving beyond the comfort zone of romance. The narrative of female sex tourism is also indebted to certain assumptions or culturally sanctioned notions about gender (what constitutes desirability or how power is mediated, for example) that are often reducible to a constellation of binaries.

First, as applicable to woman: sexually desirable versus sexually undesirable, young versus old, thin versus fat, passionate versus sterile, “manly” woman versus “womanly” woman, beautiful versus homely. Then, as regards the relationship between the genders: who’s in charge?

In truth, neither film is interested in disturbing the roles meted out by heteronormal, which is to say, patriarchal, imperatives. The subject positions are rigid, even as they may be at odds with the sexual identities of the subjects themselves. So even as race, class, and age skew the alignment of subject and subject position, the hierarchical structure of human relations remains intact and compels obedience.