Vrouwelijke sex toeristen

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Female sex tourism

Female sex tourism is travel by women, partially or fully for the purpose of having sex. It differs from male sex tourism in that women do not use bars, sex shows and formal tours to meet foreign men. There are "de facto" tours, however, such as airplanes bound to the Gambia in West Africa full of British and Scandinavian women seeking affairs with beach boys.

Often relationships with a high component of mutual affection are called "romance tourism."

Women sometimes give clothes, meals, cash and gifts to their holiday boyfriends. In some destinations, there are "going rates" for male companionship, ranging from $50 to $200. In other destinations, especially in Southern Europe, Turkey, Bali and the French Caribbean, men do not expect to be compensated.

Destinations
While men tend to go to Asia for sex tourism, women tend to head to the Caribbean, Southern Europe, and Africa. These geographical patterns reflect a search by Western men for traditionally feminine women, and a search by Western women for traditionally masculine men. The patterns have been explored by Michel Houellebecq in Platform (novel) and in the non-fiction work Romance on the Road, and are important in that they support the idea that sex tourism by both men and women reflects serious problems in the tourists' home countries, including a dating war, or profound conflict between the sexes.

Thailand, the Dominican Republic and Cuba are exceptional in that both male and female sex tourists find these places all-purpose sexual emporia.

The primary destinations for female sex tourism are Southern Europe (mainly Greece, Turkey and Spain), the Caribbean (led by Jamaica, Barbados and the Dominican Republic), the Gambia and Kenya in Africa, and Bali and Phuket in Thailand. Lesser destinations include Nepal, Morocco, Fiji, Ecuador and Costa Rica.

Lesbian sex tourism is nascent but evident in Lesbos (Mytilini) in Greece; Bangkok and Pattaya in Thailand, and on Bali in Indonesia.

History
Barring some isolated cases of women traveling for sex among North American Indian tribes and within Turkey, female travel sex (involving American and English women) began in Rome in the late 1840s, at the same time as feminism's first wave, which encouraged independence and travel.

Affairs and intrigues, particularly between American heiresses and down-on their luck European aristocrats, continued steadily until World War I and inspired Henry James's Daisy Miller, Joaquin Miller's The One Fair Woman, and much of the early output of E.M. Forster.

Female sex travel declined from the time of the Depression until the 1960s, with the exception of India, Nepal and Thailand, where intrepid women from England, France, Czechoslovakia, the United States and elsewhere continued to attract the attention of maharajas and other Asian royals, despite the uproar of World War II.

Coincident with the explosion of leisure travel in the 1960s and feminism's second wave, sex tourism by women re-ignited, first via French Canadian women traveling to Barbados and Swedish and Northern European women to Spain, Greece, Yugoslavia and the Gambia. Female sex travel became ubiquitous throughout the Caribbean, from the tiniest islands through the big destinations of Jamaica, the Dominican Republic and Barbados.

In the 1990s, women from Japan and Taiwan began to appear on the beaches of Bali and Phuket in Thailand.

Today, many other destinations are popular, including Morocco, Nepal, Thailand, Ecuador, Costa Rica, Mexico -- everywhere with beaches (or in Nepal's case, mountains) and a surplus of underemployed men

Reasons for female sex tourism
Female sex tourism's first and second waves coincided not only with feminism but with Victorian-era man shortages that began in England and later cropped in continental Europe and the United States.

Other societal reasons for women seeking intimate companionship abroad include the dating war, as typified by extreme competition between the sexes in schools, the workplace, while dating, in marriages, and even in contentious divorces. The dating war appears to especially drive sex tourism by Australian and Japanese women, and to a lesser extent, German and Scandinavian female tourists.

Another factor in women engaging in holiday romance is identity loss. Many women behave while traveling in a way at odds to how they behave at home, where fear of the "slut" label curbs the kind of hedonistic behavior seen on holiday. Traveling and expatriate women often try on a new, more experimental identity when away from family and friends.

Additional reasons include:

sexual connoisseurship -- an interest in experiencing a variety of men
a search for healing after a divorce or breakup (see Michelle Thomas, in Major academic publications, below)
prolonged involuntary celibacy
the commodification of sex, whereby affection is now something that can be purchased by women, as well as men, as well as the globalization of sex and affection markets.

Depictions
Non-fiction books include Anne Cumming's The Love Habit and The Love Quest, Fiona Pitt-Kethley's The Pan Principle and Journeys to the Underworld, Cleo Odzer's Patpong Sisters and Lucretia Stewart's The Weather Prophet.

Female sex tourists have been notoriously difficult to find and interview on the record (see de Albuquerque, 1998, in Major academic publications subhed, below). Thus some observers have turned to film and fiction to examine the motivations of women who travel for sex, love and affection. Movies include Heading South (Vers le Sud), with Charlotte Rampling, which depicts three Western tourists in Haiti in the 1970s, taking their pleasure with local men. Earlier film depictions include How Stella Got Her Groove Back and Shirley Valentine. Stella lead to a quantifiable increase in trips by women to Jamaica, according to Michele Faul's Associated Press article, 12/6/1998, “ ‘Stella’ the Movie Attracting Single Women to Jamaica.”

Important works of fiction include, in addition to Michel Houellebecq's Platform, Erica Jong's Fear of Flying.

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Op dinsdag 15 augustus 2006 13:39 schreef redrum.be het volgende:
Jonge meisjes doen dit niet echt.