Is there such thing as authenticity? Does “authenticity” signify “tradition”? Can “authenticity” be marketable? Does “authenticity” lose its “authentic” flavor if it is commodified? These are the questions raised during the process of the reading. Charles Lindholm points out that authenticity provides a sense of belonging (1)-- cultural and personal (5). It also provides a sense of nostalgia for the good old days/year/time (5). However, in the modern ear, the issue of “authenticity” has become complicated especially when it becomes commodified that everyone could purchase authentic objects such as Navajo weaving, Egyptian basket and Chinese silk. It is as if when one owns a piece of authentic object, he/she owns a part of the culture. Are we introduced to a different culture by possessing certain cultural objects or do we just own them? Does the commodified culture reiterate certain stereotypes toward different cultures?
Gerald Vizenor, a Native American writer, criticizes the fact that a lot of people “think” they know a different culture by owning certain objects. He also criticizes that when a culture is reduced to a certain stereotypes, it loses its depth and history. He utilizes American Indian culture as an example to show that most people know the culture by means of stereotypical representations such as noble savages like Tonto or blood-thirst villains. People expect to see American Indians wearing feathers, riding horses, having visions or communicating with spirits. When they find out that American Indians watching TV, playing Wii or having the access to technology, they are shocked. To these people, these “modern” American Indians are not authentic enough. Therefore, Vizenor creates a term, Postindian, to suggest that not only is “Indian” a problematic term, “postindian,” by exaggerating the stereotypes on the other hand creates absurd images of “Indians.” By doing so, Vizenor tries to mock the fact that people buy the representation instead of understand or appreciate a culture.
The act of “buying” as well as “making” complicates the discussion or definition of authenticity especially in the society of mass production. It is also ironic that sometimes we learn to appreciate different cultures by means of the act of buying or even global commercial acts. Several years ago, a German New Age band had a song that hit the chart immediately after it was released. Enigma’s “Return to Innocence” became so popular that not only the lyrics but also the melody touched to many people. However, it was later discovered that the main melody was in fact the song from Elders Drinking Song sung by elders in Ami Tribe in Taiwan. The case is not only about the issue of copyright; moreover, it complicates how we view “authenticity” and how we (re)discover it. Lindholm in chapter 5 talks about Slow Food and applies Petrini’s idea to create “historical and localized” products. We can’t help but wonder, is it “authenticity” that we are looking for? Or we are only after a certain type of aura?
Enigma's "Return to Innocence"
Elders Drinking Song by Difang, the original singer
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