In today’s digital age, social media platforms have become powerful tools for shaping and projecting the image of travel destinations. Uzbekistan, a country rich in historical and architectural heritage, employs social media to promote its unique cultural identity to a global audience. This paper examines the impact of selfies posted on social media, with a specific focus on Instagram, in shaping and reflecting the world image of Uzbekistan. Drawing on the article titled “Destination Image in Uzbekistan” and personal observations, this paper explores the dominance of historical sights in Uzbekistan’s destination image while affirming or contesting the findings of the study.
The concept of destination image refers to “the online representation of the collective beliefs, knowledge, ideas, feelings and overall impressions of a destination” (448) According to the article, Uzbekistan strategically promotes its historical sights and architecture to create a distinctive destination image. The study reveals that approximately 70% of Instagram photos related to Uzbekistan emphasize historical and architectural elements. Similarly, my personal experience aligns with these findings, as exactly 7 out of the 10 images I posted on my Instagram account showcase architectural and historical landmarks.
My conscious or unconscious selection of images that primarily feature historical sights in Uzbekistan corroborates the article’s findings. By prioritizing these captivating landmarks, I unintentionally contributed to the reinforcement of Uzbekistan’s destination image as a culturally rich and historically significant country. The prevalence of such imagery on social media platforms like Instagram can create an illusion that the entire country consists of picturesque old towns, perpetuating the selective representation commonly employed in destination promotion. Clearly, this type of destination image is the product of lots of time and money spent on maintaining or even rebuilding historical sights and their promotion.
While the article highlights Uzbekistan’s emphasis on historical and architectural sights in shaping its destination image, it also finds that Uzbekistan places a strong focus on pre-Soviet history while virtually ignoring Soviet history. “Photographs portraying Soviet-style architecture and museum items from the Soviet period accounted for around 6% of the total number of images in the official website and around 2% in the Instagram sample (Fayzullaev et al., 2021)” As affirmed by the study, the promotion of historical landmarks predominantly revolves around the legacy of the Silk Road and the architectural wonders preceding the Soviet era. During my exploration of Uzbekistan, it was challenging to find visible signs of Soviet history, apart from a unique underground gift shop resembling a cave, where Stalinist merchandise was sold. I mention this because it represents how that history is treated, and pushed under the rug only to be found upon lots of searching. A larger example of this is the Aral Sea, which despite visiting, I never posted pictures from. While I’m aware that a few of my classmates posted pictures from the site, it generally received less social media coverage than its more ancient counterparts. The story of the Aral Sea is a perfect microcosm of the Soviet Union itself, so it is predictably left out of promotional material. This scarcity of Soviet influence in the destination image further supports the article’s assertion that Uzbekistan places greater emphasis on its pre-Soviet history, aiming to showcase the country’s rich cultural heritage through its ancient sights.
Through social media platforms like Instagram, Uzbekistan strategically highlights its historical and architectural sights to shape its destination image. The article’s findings, supported by my personal experience, reveal the dominance of such imagery in representations of Uzbekistan. While the emphasis on historical sights effectively showcases the country’s rich cultural heritage, it is essential to recognize and include the influence of the Soviet era in portraying a more holistic image. By understanding the power of selfies and social media in shaping perceptions, Uzbekistan can leverage its unique heritage and diverse cultural landscape to create a more nuanced and authentic destination image.
Work Cited
Fayzullaev, Kamoliddin, Susanna Heldt Cassel, and Daniel Brandt. 2021. “Destination Image in Uzbekistan – Heritage of the Silk Road and Nature Experience as the Core of an Evolving Post Soviet Identity.” The Service Industries Journal 41 (7–8): 446–61. https://doi.org/10.1080/02642069.2018.1519551.
