@article{8170,
  keywords = {Festivalisation, HULA, identity, New Zealand, Pacific, Pasifika, TIME, staged authenticity, traditional music},
  author = {J Mackley-Crump},
  title = {From Private Performance to the Public Stage: Reconsidering  Staged Authenticity  and  Traditional  Performances at the Pasifika Festival},
  abstract = {Over the past 60 years, the phenomenal growth of international tourism has been paralleled by the phenomenal growth in festivals held across the world and the increasing academic attention given to understanding them. Performances of culture in tourist settings are often viewed as inauthentic, staged purely for the benefit of tourists. This article contests this enduring perspective, best known through the notion of  staged authenticity . Drawing on research conducted in the diasporic Pacific festival space in New Zealand, this article focuses on how those from within Pacific communities view their performances. Giving agency to the actors allows them to define performances and festivals from an emic perspective, and this challenges the notion of staged authenticity. Rather than material performed purely for the festival and its cultural tourists, performances instead represent a movement of material from largely homogenous community contexts into the multicultural public sphere. Furthermore, the notion of nonlinear temporal relations shows how these performance traditions function contemporaneously, as an important component of the community repertoires from which they come. This in particular challenges the idea that touristic performances represent  staged authenticity . Rather, traditional musics represent one way in which diasporic Pacific communities authentically stage themselves.},
  volume = {26},
  number = {2},
  pages = {155-176},
  issn = {0066-4677},
  doi = {10.1080/00664677.2016.1155972},
}