products of an ethnic group or region as happened with, for example, the Eskimo soapstone carvings (Graburn 1976b) or the Haida argillite carvings (Kaufmann 1976). Greenwood (1982:27) i-emarked that "all viable cultures are in the_pLocess of 'making themselves up' all the time." One could call this process "emergent authenticity,'"just as a parallel process in the ethnic realm was termed "emergent ethnicity" (Yancey et al 1976). "Emergent authenticity" stresses one aspect or refers to one
manifestation, of the wider phenomenon of "invention of tradition," whose ubiquitousness has been so impressively documented in Hobsbawm and Ranger's (1983) volume. In principle it is possible for any new-fangled gimmick, which at one point appeared to be nothing but a staged "tourist trap," to become over time, and under appropriate conditions, widely recognized as an "authentic" manifestation of local culture. One can learn about this process of gradual "authentication" from the manner in which the American Disneylands, once seen as the supreme example of contrived popular entertainment, became over time a vital component of contemporary American culture (e.g., Johnson 1981; King 1981). They will, no doubt, in the future be perceived even by historians and ethnographers, as an "authentic" American tradition (cf. Moore 1980).
One further point, closely related to the concept of "emergent authenticity" ought to be noted. The new, "external public" (Graburn 1976a.; Shiloah and Cohen 1983:237) provided by the tourists, may offer an opportunity to the producers of cultural products to incorporate in them novel but "authentic" messages, differing from those incorporated in cultural products intended solely for the "internal" local or ethnic public. Thus, Silver (1979) claims to have detected such messages hidden in the apparently exaggerated, "exotic" features of commercialized African sculptures. This author also found such messages explicitly stated in the commercialized figurative embroideries of Hmong (Meo) refugees from Laos (Cohen 1982b:41; Forthcoming). The Hmong from whose "traditional" arts figurative representations were absent, nostalgically depict in these embroideries the richness of their traditional customs to the world at large, as well as seek to draw its attention to their sufferings in recent history and to their present dire predicament. Such messages thus become new cultural expressions, which are recognized as "authentic" even by experts, such as anthropologists or ethnographers interested in cultural change.
COMMODITIZATION
"Commoditization" is a process by which things (and activities) come to be evaluated primarily in terms of their exchange value, in a context of trade, thereby becoming goods (and services); developed exchange systems in which the exchange value of things (and activities) is stated in terms of prices form a market. Though trade systems and gift sys-
tems were apparently even in the past less unequivocally segregated than previously claimed, markets have expanded throughout the world in the modern era, bringing• about the commoditization of an ever wider range of things and activities (cf. Appa.durai 1986). The principal question in this context is, what happens to the other meanings (partic-
products of an ethnic group or region as happened with, for example, the Eskimo soapstone carvings (Graburn 1976b) or the Haida argillite carvings (Kaufmann 1976). Greenwood (1982:27) i-emarked that "all viable cultures are in the_pLocess of 'making themselves up' all the time." One could call this process "emergent authenticity,'"just as a parallel process in the ethnic realm was termed "emergent ethnicity" (Yancey et al 1976). "Emergent authenticity" stresses one aspect or refers to one
manifestation, of the wider phenomenon of "invention of tradition," whose ubiquitousness has been so impressively documented in Hobsbawm and Ranger's (1983) volume. In principle it is possible for any new-fangled gimmick, which at one point appeared to be nothing but a staged "tourist trap," to become over time, and under appropriate conditions, widely recognized as an "authentic" manifestation of local culture. One can learn about this process of gradual "authentication" from the manner in which the American Disneylands, once seen as the supreme example of contrived popular entertainment, became over time a vital component of contemporary American culture (e.g., Johnson 1981; King 1981). They will, no doubt, in the future be perceived even by historians and ethnographers, as an "authentic" American tradition (cf. Moore 1980).
One further point, closely related to the concept of "emergent authenticity" ought to be noted. The new, "external public" (Graburn 1976a.; Shiloah and Cohen 1983:237) provided by the tourists, may offer an opportunity to the producers of cultural products to incorporate in them novel but "authentic" messages, differing from those incorporated in cultural products intended solely for the "internal" local or ethnic public. Thus, Silver (1979) claims to have detected such messages hidden in the apparently exaggerated, "exotic" features of commercialized African sculptures. This author also found such messages explicitly stated in the commercialized figurative embroideries of Hmong (Meo) refugees from Laos (Cohen 1982b:41; Forthcoming). The Hmong from whose "traditional" arts figurative representations were absent, nostalgically depict in these embroideries the richness of their traditional customs to the world at large, as well as seek to draw its attention to their sufferings in recent history and to their present dire predicament. Such messages thus become new cultural expressions, which are recognized as "authentic" even by experts, such as anthropologists or ethnographers interested in cultural change.
COMMODITIZATION
"Commoditization" is a process by which things (and activities) come to be evaluated primarily in terms of their exchange value, in a context of trade, thereby becoming goods (and services); developed exchange systems in which the exchange value of things (and activities) is stated in terms of prices form a market. Though trade systems and gift sys-
tems were apparently even in the past less unequivocally segregated than previously claimed, markets have expanded throughout the world in the modern era, bringing• about the commoditization of an ever wider range of things and activities (cf. Appa.durai 1986). The principal question in this context is, what happens to the other meanings (partic-
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