Cultures of Authenticity

This chapter provides an overview of research on authenticity in tourism studies focusing on the development of the field and noting four main strands: objective, constructive, postmodern, and experiential. Underlying the various approaches to authenticity are distinct authentication processes with more recent work arguing for a move away from an authentic/inauthentic dichotomy toward an emphasis on the social construction of authenticity, and associated questions of power, production and performativity.

This chapter is interested in exploring whether philosophical understandings of authenticity are applicable to Western conceptualisation of heritage, from physical sites (tangible) to social practices (intangible). In viewing heritage as a dynamic process, the author argues that the concept of genius loci (or spirit of place) is the most logical theoretical framework to accommodate these shifting understandings of authenticity and heritage. Moreover, by moving beyond anthropomorphised and material-centred themes and focussing instead on participation, locus and action, building conservation can explore the dynamics between materials and meanings in order to work towards a more performative interpretation of historic building authenticity

The author investigates and debates around authenticity in relation to the heritage communities of a Chinese intangible cultural heritage (ICH) item ‘Nüshu’. Nüshu is a monosyllabic phonetic system of writing created and used by women in the Jiangyong County, Hunan Province, in Southern China. Drawing on insights from both online and offline ethnographies, this study argues that in the field of ICH, disputes over heritage authenticity are fiercely negotiated by different stakeholders, including powerful state and supra-state actors. However, the emergence of digital platform has become a way for Nüshu participants to perform their identity and competence and lay claim to their own heritage authenticity.

The authors discuss the case of Whang-od, a renowned and revered tattooist in the Philippines, whose skill with batok (traditional tattoos) has generated worldwide attention. While batok was originally designed for a warrior class to signify their power and elite status, it has been transformed into a commodity for national and global audiences and promoted via social media. Utilizing participation observation of, and interviews with, visitors to the village where Whang-od lives, the authors show how this form of “ethnic tourism” is built around the status of batok as an authentic practice that influences both the ways that locals present, and tourists, try to consume, the culture of the village.

Discussion around authenticity has grown in marketing and consumption discourse in the last two decades. Consumers are viewed as seeking authenticity, and brands have responded to this. This chapter identifies three foundational categories of authenticity: personal, expressive and material. The main elements of each category are outlined. Key tensions are identified between authenticity as experienced by consumers and authenticity as leveraged for instrumental purposes by the marketplace.

The author focusses on corporate history from a media aesthetic perspective using the case of the Danish brewer Carlsberg. Through a careful examination of the company’s website that draws on Kress and Van Leeuwen’s work on modality, the author examines how images and symbols of the past and present are intertwined so as to ‘curate’ history and present the brand as both deeply rooted and authentic.

This chapter explores the concept of authenticity in the context of today’s highly competitive hospitality industry. Drawing on the multi-sited ethnographic case study of Ziferblat, the world’s first pay-per-minute cafe franchise, the author examines how the imperative of authenticity is addressed by small international enterprises falling in between the categories of chain and independent. By tracing how Ziferblat’s original concept, shaped by the personal and socioeconomic background of its founder, was subsequently transformed by the local teams and adapted to different cultural-geographical contexts, this chapter adds new empirical evidence to the dynamic and pluralistic notion of multiple authenticities.

The author explores the variety of ways in which sports brands have risen to prominence and how the development of particular activities and relationships, with athletes, fans, media and regulators, are designed to present them as authentic. This status is crucial given the cultural and emotional significance of sport alongside its ability to underpin forms of collective belonging. A range of examples, including Red Bull, Nike, Patagonia, Olympic skateboarding and Manchester United Football Club, are used to highlight these processes as well as the complexity of the contemporary social, cultural and political landscapes that such brands now operate in.

The authors analyse narratives of Chinese consumers of Vintage Costume Jewellery to show how value is attributed to vintage items, often in direct contrast to contemporary luxury goods. Examining a range of factors in this process, including uniqueness, scarcity, historical specificity, social meaning and cultural legitimacy, authenticity is shown to be central to the positioning of jewellery and those who collect, trade and appreciate it as tasteful and discerning consumers.

Within the fields of feminist media and cultural studies, questions around authenticity and gender have become increasingly pronounced in recent years. This chapter outlines the scope of this work by not only examining the extent to which digital media culture increasingly trades in ideas of ‘realness’ and of ‘being yourself’ but also the consequences of this for particular marginal groups, including women, queer and feminised people. Three significant avenues for research around authenticity are also discussed: masculinity, authenticity and victimhood; feminism, trauma and ‘authentic voice’; and feminism, transphobia and ‘authentic womanhood’.

The author examines the inter-relationship between authenticity, music and gender in relation to a particular contemporary genre, emotional hardcore or emo. Noting how hard rock often defined itself as authentic in contrast to (feminine) pop music, the author argues that it is possible to see the ‘persistence of masculinism’ in wider debates around the performance of (appropriate) fandom. Drawing on a wealth of online data from platforms such as Reddit, Tumblr and Facebook, the author observes that even as male fans of emo distance themselves from hyper-masculine forms of hard (or cock) rock, they also critique the presence of female fans as ‘inauthentic’.

The author looks at how advertising aimed at cisgender men has shifted over the last two decades, moving from standard representations of hegemonic forms of masculinity to the adoption of the language and style of “postfeminist authenticity.” Drawing on a range of insights from across the social sciences and using the examples of three popular grooming products, Axe, Gillette, and Dollar Shave Club, the author critically examines the manner in which these new campaigns emphasize individual self-improvement and consumption choices as a means to solving the problems generated “by traditional, supposedly inauthentic, expressions of masculinity.”

The author explores the contemporary logics of branding and authenticity among contestants in the reality television show, RuPaul’s Drag Race. In the chapter, the author points to the inherent tension in performing a drag persona that is perceived as authentic by audiences whilst at the same time looking to take advantage of any financial opportunities that being on the show may generate. This tricky balancing act is examined in relation to the case of the drag persona, Tina Burner, who was criticised for not being authentic enough and overbranding herself. The chapter highlights the competing demands that contestants on a high-profile reality show must deal with and the difficulty of deciding ‘when to keep it real in reality TV’.

In her introductory chapter, the author has two main objectives. First to offer an overview of changing approaches towards researching authenticity in digital spaces, which have, alternatively, emphasised issues of congruence, authorship, verification and vulnerability. Second, to provide an intensely personal reflection on the concept that ultimately asks us, as researchers, to question what we do when we try to perceive and interrogate the notion of ‘authenticity’.

The authors examine the tensions between the public and commercial functions of social media platforms with a particular focus on how Instagram influencers look to demonstrate their “authenticity” whilst also pursuing commercial objectives. Drawing on a large-scale quantitative content analysis of the accounts of prominent Dutch fashion and lifestyle influencers, the authors demonstrate an “authenticity gap” between the way these influencers claim to be authentic in the way they talk about influencer culture, and the extent to which they actually implement “authenticity marker’s” in their Instagram posts.

The author addresses the world of Instagram influencers but offers a very different perspective by focusing on the gendering of claims to authenticity on social media. The author observes how high-profile male and female Czech influencers are required to navigate an authenticity bind (Duffy & Hund, 2019) through two key strategies: the opinion-leader strategy and the community-building strategy. Men rely predominantly on the opinion-leader strategy while women position themselves as community builders. By focusing on the communicative strategies of the influencers, the author offers an analysis of authenticity as performative process, rather than a static concept, that gets negotiated in everyday interactions between influencers and their followers.

In their work on ‘online consumer stewards’ in E-sports, the authors point to the competing social and commercial imperatives that govern behaviour and who can be seen as ‘authentic’ in a fast-paced digital environment. Drawing on insights from Bauman’s work on ‘liquidity’ they explore the case of Starcraft II, a global, multi-player online game, and show how the most successful stewards need to be both adaptable and free-floating whilst at the same time anchored in solid community structures. The most successful of these stewards are then able to leverage this (perceived) authenticity to meet both community and commercial objectives.

This chapter starts by defining authenticity and then addressing the role that the concept has played in political communication research. It then examines authenticity as an issue in conventional politics before discussing more recent engagements with the concept, notably with regard to campaigns, populism and voting preferences.

The author addresses the relationship between populism and authenticity in the contemporary era. The author argues that for populists, authenticity is more than an image-building strategy and instead is used strategically to maintain a powerful emotional connection with supporters that extends beyond election campaigns. The chapter also examines the rise of a distinct populist style (ordinariness, provocation, a certain kind of intimacy) that is used in opposition to an established political class. This style is often represented, and celebrated, through social media and increasingly defines what it means to be authentic in the political sphere.

The author explores questions of authenticity in the media industry by showing how right-wing media figures look to present their views as authentic by defining themselves as citizen journalists and positioning themselves in opposition to mainstream media. Looking at two case studies from the United States, Andrew Breitbart and Mike Cernovich, the author shows how the language of citizen journalism (amateurism, independence, immediacy) is co-opted by such figures to appeal to increasingly distrustful and antagonistic conservative media audiences.

The authors examine authenticity in relation to Alternative Political Commentators (APCs) on YouTube and Twitch. Drawing on Owens (2019) provocative claim that contemporary (online) culture may be ‘post-authentic’, the authors use the term post-authentic engagement to explore in/out-group dynamics between influencers and their audiences. This view is evidenced through an examination of the usage of emojis and emotes by audiences to engage in the fast-paced chats that accompanied the livestream coverage of two APCs, HasanAbi and The Young Turks, during the 2020 US Presidential Election.

The authors focus on a non-Western setting that has hardly featured in debates around political authenticity, Taiwan. The authors also adopt a novel inter-generational perspective to look at varying attitudes towards two ‘unconventional’, high-profile politicians, Ko Wen-je and Han Kuo-yu. Drawing on focus group data, the authors note the similarities and differences in the way that the different generations engage with, and assess, the two politicians with a particular focus on the extent to which their personalities, appearance, and everyday activities are perceived as authentic.