Indigenous peoples of Brazil have come to faith in Christ in large numbers in recent decades. As Christianity takes root in each culture, it may incorporate expressive forms of music and art, which can range from those identical to earlier cultural forms to those which are fully imported. But what happens when musicians and artists of a local indigenous community fuse elements from a variety of genres and create their own music? Are they just imitations of external forms? Or are they authentic creations from elements that have now become their own sounds, too? Christian musicians among the Xerente (pronounced Sheh- ́ren-teh) have created their own fusion genre(s) to express their faith, communicate the gospel, and edify their churches. Their music includes elements from their cultural tradition as well as from (secular) genres of the northeastern region of Brazil. Is it, then, authentically Xerente? As we discuss in this book, independent of tangible markers or its long history, the authenticity of an art form can be demonstrated through a number of connections with the community and signposted by its meaning and function among the people, as well as the competence and agency of the people in their artistic choices.

This volume centres around concepts of personal and cultural authenticity as they play out in various contexts of foreign language teaching and learning worldwide. The chapters cover a wide range of contexts and disciplines, including both theoretical and empirical work; together they comprise both a rigorous analysis of authenticity in language teaching and a step away from notions of native-speakerism and cultural essentialism with which it is often associated. Written by a group of scholars working across several continents, the chapters offer diverse perspectives regarding the role language plays in processes of personal growth, learning, development, self-actualisation and power dynamics. The book addresses the theoretical and philosophical nature of authenticity while remaining grounded in the teaching and learning of languages, with authenticity viewed as a practical concern that guides our actions and beliefs. The book will be of interest to scholars, researchers and students of authenticity as well as foreign language teachers interested in the theoretical underpinnings of their practice.

Creating Global Music in Turkey looks at the rise of ”world music” in Turkey by analyzing this country’s various “traditional” or ethnic music forms. The book focuses on the uniquely Turkish musical forms exemplified by Gypsy, Sufi, and Folk music, and explores how these have been incorporated into the global discourses of world music. In doing so, the book also shows how the place-making strategies of globalization are embodied through the construction of an “authentic” Istanbul sound under the label of world music. The reader is invited to consider each musical tradition as being a unique realm in its incorporation into world music. The process of incorporation and appropriation is explained by examination of the specificities of each realm. This book is unique within the relevant literature, focusing on the production of a global cultural form outside of the Western world. It uses the findings of comprehensive ethnographic research to reveal to the reader the strategies of actors, the discursive mechanisms in the field, and how the world music markets operate.

Contrived. Disingenuous. Phony. Inauthentic. Do your customers use any of these words to describe what you sell—or how you sell it? If so, welcome to the club. Inundated by fakes and sophisticated counterfeits, people increasingly see the world in terms of real or fake. They would rather buy something real from someone genuine rather than something fake from some phony. When deciding to buy, consumers judge an offering's (and a company's) authenticity as much as—if not more than—price, quality, and availability. In Authenticity, James H. Gilmore and B. Joseph Pine II argue that to trounce rivals companies must grasp, manage, and excel at rendering authenticity. Through examples from a wide array of industries as well as government, nonprofit, education, and religious sectors, the authors show how to manage customers' perception of authenticity by: recognizing how businesses "fake it;" appealing to the five different genres of authenticity; charting how to be "true to self" and what you say you are; and crafting and implementing business strategies for rendering authenticity. The first to explore what authenticity really means for businesses and how companies can approach it both thoughtfully and thoroughly, this book is a must-read for any organization seeking to fulfill consumers' intensifying demand for the real deal.

Sounding Authentic considers the intersecting influences of nationalism, modernism, and technological innovation on representations of ethnic and national identities in twentieth-century art music. Author Joshua S. Walden discusses these forces through the prism of what he terms the "rural miniature": short violin and piano pieces based on folk song and dance styles. This genre, mostly inspired by the folk music of Hungary, the Jewish diaspora, and Spain, was featured frequently on recordings and performance programs in the early twentieth century. Furthermore, Sounding Authentic shows how the music of urban Romany ensembles developed into nineteenth-century repertoire of virtuosic works in the style hongrois before ultimately influencing composers of rural miniatures. Walden persuasively demonstrates how rural miniatures represented folk and rural cultures in a manner that was perceived as authentic, even while they involved significant modification of the original sources. He also links them to the impulse toward realism in developing technologies of photography, film, and sound recording. Sounding Authentic examines the complex ways the rural miniature was used by makers of nationalist agendas, who sought folkloric authenticity as a basis for the construction of ethnic and national identities. The book also considers the genre's reception in European diaspora communities in America where it evoked and transformed memories of life before immigration, and traces how many rural miniatures were assimilated to the styles of American popular song and swing. Scholars interested in musicology, ethnography, the history of violin performance, twentieth-century European art music, the culture of the Jewish Diaspora and more will find Sounding Authentic an essential addition to their library.

This book analyzes the different conceptions of authenticity that are behind conflicts over who and what should be recognized as authentically Jewish. Although the concept of authenticity has been around for several centuries, it became a central focus for Jews since existentialist Jean-Paul Sartre raised the question in the 1940s. Building on the work of Sartre, later Jewish thinkers, philosophers, anthropologists, and cultural theorists, the book offers a model of Jewish authenticity that seeks to balance history and tradition, creative freedom and innovation, and the importance of recognition among different groups within an increasingly multicultural Jewish community. Author Stuart Z. Charmé explores how debates over authenticity and struggles for recognition are a key to understanding a wide range of controversies between Orthodox and liberal Jews, Zionist and diaspora Jews, white Jews and Jews of color, as well as the status of intermarried and messianic Jews, and the impact of Jewish genetics. In addition, it discusses how and when various cultural practices and traditions such as klezmer music, Israeli folk dance, Jewish yoga and meditation, and others are recognized as authentically Jewish, or not.

How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raï. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, amb