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- W2963698338 abstract "The Recognizability of Authenticity Madeleine Henderson (madeleine.henderson@gmail.com) and Liane Gabora (liane.gabora@ubc.ca) Department of Psychology, University of British Columbia Okanagan Campus, 3333 University Way, Kelowna BC, V1V 1V7, CANADA Abstract The goals of this research were to (1) determine if there is agreement both amongst viewers, and between viewers and the performer, about the extent to which performances are authentic, and (2) ascertain whether or not performers and/or viewers can distinguish between authenticity and skill. An authentic performance is one that is natural or genuine, while an inauthentic performance feels faked, forced, or imitative. Study participants were asked to rate the authenticity and skill level of a series of videotaped performances by dancers and stand-up comedians. Performers also rated their own performances. Authenticity ratings amongst viewers were significantly positively correlated. Ratings between viewers and performers were not significant but all positive. A higher correlation between ratings of both authenticity and skill of performances for viewers than for performers suggests that viewers make less of a distinction between authenticity and skill than performers. The relationship between authenticity and creativity is discussed. Keywords: authenticity; comedy; creativity; dance; expertise; fake; genuine; individual differences; performance; skill. Introduction With increasing frequency there are calls for research aimed at a synthetic account of how the components of a cognitive system function in synchrony to generate behavior in everyday situations. We propose that the construct of authenticity has an important role to play in such an account. Authenticity refers to the ability to be genuine, to accurately reflect who one really is, and be true to the situation one is in. Writers speak of discovering one’s own authentic voice. In theatre research the term ‘authentic’ is used in discussion of the extent to which a performer gives a performance something personal that goes beyond the script (Lavy, 2005). In the dance community the term ‘authentic movement’ refers to the strengthening of identity through uninhibited movement of they body in a social context (Goldhahn, 2009). In an area at the intersection of anthropology and tourism research, the term ‘authenticity’ is used to refer to the extent to which current creative works in a given genre, such as Native American or First Nations art or dance, employ the same tools, techniques, styles, and so forth, as were traditionally used (Daniel, 1996; Maruyama et al., 2008). Thus an authentic performance is one that seems natural, or true to an underlying essence, while an inauthentic performance feels faked, forced, or imitative. Authenticity is important for many reasons. It feels highly gratifying to both the performer and the observer. It is relevant to many domains of life, including the generation of artistic works and performance (e.g., art, acting, music, and dance), non-artistic performances (e.g., teaching and newscasts), and everyday social interactions with friends and family. However, despite that performers, viewers, and the general public regularly voice opinions about authenticity, and despite that in the scholarly community authenticity is assumed to be a genuine construct about which viewers and performers are in agreement (e.g., Goldhahn, 2009; Kogan, 2002; Lavy, 2005; McClary, 2007; Nemiro, 1997; Sawyer, 1992; Warja, 1994), we were unable to locate any empirical research that supports this assumption. Indeed we found no empirical evidence for consensus as to which performances are authentic and which are not, either amongst members of an audience, or between a performer and an audience. Authenticity and Skill Audiences without artistic expertise emphasize skill over originality in assessments of visual art, while the reverse is true for audiences with expertise (Hekkert & van Wieringen, 1990a, 1990b, 1996). This suggests that originality—which might be related to authenticity—can be confused with skill. However, there is evidence that skill and authenticity are distinct constructs (Kogan, 2002). While being skilled in a domain may facilitate authentic performance, it does not guarantee it, nor is it a necessary prerequisite. For example, a dancer may have perfected her craft, and be technically skilled, permitting a wide range of means for self- expression, but not immerse herself in the work, or simply imitate the instructor, yielding a performance void of authentic style. Conversely, a performer lacking in technical skill may exude personality or detectable “creative release”, yielding a performance that comes across as authentic. In short it remains an open question whether viewers confuse a skilled performance with an authentic one. Goals of Current Study Although it would be difficult to pinpoint the potentially myriad factors that contribute to authenticity or a lack of it, it is possible to make headway toward determining whether authenticity is a genuine construct by assessing the extent to which viewers of a performance, and performers themselves, agree in their assessments of authenticity. Thus a first goal of this study was to determine if there is a correlation amongst viewers’ assessments of the authenticity of a given performance. A second, related goal was to determine whether there is a correlation between viewers’ assessment of the authenticity of a performance and the performer’s self-assessment of the authenticity of that performance. We hypothesized that an audience can detect an authentic or inauthentic performance, and that" @default.
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- W2963698338 title "The Recognizability of Authenticity" @default.
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