By Deanna & Ivan Tribe

What is authenticity?

Authenticity may be hard for most of us to define, to put our finger on, but some of us would claim to know it when we see or hear it! It has become a necessary element and marketing piece for successful heritage tourism. With the tourism audience in mind, authenticity could be defined as a product or representation of the particular culture or heritage which produced it--in other words, the “real McCoy” or bona fide. When trying to declare something as authentic, it is important to know “based on what?” Who makes the call? Why and for what purpose? How is the story being told? To be authentic, we need to accept that the “real deal” has warts as well as charm.  It is not a simple concept and is subject to context and interpretation dependent upon quality research. This brief article is an introduction to authenticity, generating more questions than providing answers, to provoke thought and improve the stories and products about Ohio Appalachia.

How do we know what is authentic?

A lot of what’s passed for authentic in recent years probably isn’t. Just because Great Uncle Bill tells the story that way doesn’t mean that’s how it happened or even what happened! It may not all be true.  We seem to be putting a lot of reliance on oral history which is problematic if it is based on flimsy sources--and that assumes we even search out the historical accuracy behind the stories or study of customs and traditions. Oral history can be misleading, but also can be very useful. We hear the claim that there’s none or limited sources when there are often sources but we just don’t know where or how to look, or don’t want to take the time to dig very deep,  or we’re afraid that the real story may not be as interesting as the one we’d like to believe. This brings us to needing to understand such constructs as “historical fact,” “folklore,” and yes, even “fakelore.”

Folklorist William A. Wilson notes that folklore is made up of the traditional things we say (including local histories and folk stories), things we make and things we do.  Noted folklorist Richard Dorgan devised the term fakelore to describe that which is concocted, falsified, fabricated or refined from the raw data of the anonymous tradition of folklore by particular individuals usually for profit.  Identifying contexts and time periods are critical to validating authenticity. Everything that is authentic does not have to be old or historic, but the basis for the claim needs to be established and shared with the person hearing the story—in order words, put in perspective by setting the stage or context in which the authenticity is derived. What’s the measuring stick or standard of authenticity? Who’s making the call of authenticity?

Why are we touting authenticity?

This is a current focus for tourism marketing in our region—the uniqueness (probably oversold), but definitely the special-ness of the region and its communities, people, traditions, history, landscapes, culture, etc. in order to cash in on this fascination. It is key to bringing heritage tourism sector visitors to a place, providing the outward allure.  Heritage tourists want to experience a place and its people and learn something about both and hopefully spend money doing it, frequently purchasing souvenirs or gifts as reminders of those experiences. What do visitors to our towns, communities and countryside expect? They assume that what they are seeing, hearing or experiencing is the real thing rather than something contrived, phony or embellished for them (and their dollars). Are we overselling without being able to deliver?

Who’s telling the story?

What is the story? Whose story is it? Who’s discovering and telling the heritage and culture of our place and its people? What study and research are being done to discover and verify the heritage and culture of this place and its people? Or have the heritage tourism interests (e. g. trails) already been determined and we are trying to find our connection to them? Are the “locals” or “the folk” native to the area a part of this discovery and telling of their own story which also serves a useful role for their self image and identity in a place stereotyped with deficiencies? Or is it being taken on by “outsiders” who have come into the region and see the value in the heritage and culture, some wishing it were their own? “Revivalists” (as distinguished from “the folk”) practice the tangibles of this heritage and culture through music, arts, crafts, etc., and are giving them new life and appreciation. This is important. Here’s an example to point out the distinction between the folk and revivalists:  “the folk” is Appalachian singer Hazel Dickens (from West Virginia who lived the epochal story) and Gillian Welch is not; she is a revivalist singer of Appalachian style music (who grew up in New York and California with television-writer parents).  How about nonprofit groups, agencies and politicians who have latched on to the economic possibilities with Appalachian heritage and culture as a tourism product?  They are frequently the ones who are “setting the table” with the folk whose heritage and culture it is on the sidelines, often not invited to partake. The table needs to be set for a wide representation including the “locals or the folk.” However, my experience has noted a scarcity of involvement of “the folk” whose heritage is being discovered and sold or told. They, too, need to step up and ask for their place. Webster defines heritage as that which belongs to you by reason of birth, an inheritance; in this case, that which you have lived because of who you are and where you’ve lived it.

How is authenticity presented or portrayed?

Authentic implies credibility. Can we always tell by looking at a photograph what is authentic and what is a replica or staged? Today’s computer technology allows for creating perfect photographs by removing the imperfections, hence dabbling with the authenticity. Interpretation is a tool for authenticity; there is a caveat here, too, as interpretation may be based upon the teller’s conception which, if the case, needs to be included in the telling as interpretation may become “spin” for one’s viewpoint. In this day of “sound bites” and expecting to be entertained in as short a time as possible, we need to acknowledge that the interpretation is likely to be accepted as the real thing and factual! As honest interpreters (whether through displays and exhibits, plays and re-enactments, guided tours, printed materials, presentations, websites,  etc.), telling the story should include the context of what is being seen or experienced so that the interpretation brings out the meaning and explains—for learning and enjoyment. In summary, to paraphrase Davy Crockett, “make sure you’re right, then go ahead.”

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