Authenticity in tourism in relation to entertainment of Walt Disney Parks.

The aim of this essay was to examine the theories of authenticity and its relation to Walt Disney Company and particularly its theme parks.
Modern tourism is often accused of deteriorating authenticity and faking the real Theobald (1998). In Walt Disney World one can walk through showcase of several countries in the World and get familiar with their culture in Ebcot (WDW, 2010). Boorstin (1964) in Wang (1999) says that tourists do not rich out for the authentic and settle for their own provincial expectations. Commodization of culture in tourism takes place by staging the real for financial gains. Modern lifestyle calls for authenticity in tourism to compensate for all the 'fakeness' of contemporary society. MacCannell (1999) calls it 'staged authenticity'. In Walt Disney World there is range of backstage tours beginning with an attraction in Hollywood Studios and ending with VIP guided tours (WDW, 2010). Eco (1986) in Wang (1999) expresses strong opinion that Walt Disney World and Disneyland are best examples of hyper-reality and fantasy and for that reason it is pointless to judge between its 'fakeness' or reality. The concept of the parks came out of imagination: "The nostalgia for childhood, to become and remain a child, and to find meaning in a perceived or romanticized happier childhood, is a powerful motivating force" (Pretes, 1995). Walt Disney World theme parks are examples of reproduced authenticity where the tourist attractions are meant to represent ideas, places and trends in popular culture (WDW, 2010). Walt Disney World theme parks represent commodities, cultures and attractions from different parts of the world in different contexts (WDW, 2010). Boorstin (1992) in Pretes (1995) might add that tourists are more interested in the idea of another culture than the culture itself. Cohen (1979) in Pretes (1995) states that some tourists seek varieties of authentic experience, while others look for sheer entertainment. Disney Resorts do not seem to market authenticity or inauthenticity, but focus solely on entertainment and 'staging reality'. The faking and imitating experiences is a part of the show in the theme parks in exchange for experiencing entertaining family and friends time (WDW, 2010). Cohen (1988) says that commodization of culture might lead to its preservation from funding in peripheral communities in the spheres of folk arts and crafts. He agrees that when a host population incorporates new commodities and traditions into the culture then a new one emerges. Incorporating Disney culture into American culture is a phenomenon that is described as 'Disneyfication' (Heusser & Grabher, 2002). Commodization leads to reinventing the culture through relearning and reselling commodities that tourists are interested in, what is called 'essentialists' perspective (Medina, 2003). Enzensberger (1990) in Pretes (1995) explains that escape and illusion are strategies to cope with postmodern uncertainty and stress. Ritzer and Liska (1997) in Wang (1999) say that in contrast to MacCannell (1999) suggestions of tourists looking for authenticity, the tourists are looking for inauthenticity followed by further inauthenticity- tackiness in essence. Urry (1990) proves that tourists are in fact aware that tourism cannot be fully authentic. He employs a definition of 'playfulness' which means that people themselves are faking different roles and tourists themselves are part of the act that allows them to enjoy the experience and having fun. Parades, shows and fireworks in Disney Parks encapsulate that approach WDW, 2010). . Wang (1999) comes up with existential authenticity as opposed to objective and constructive authenticity. Objective authenticity is related to object. Constructive (symbolic) authenticity is a result of social construction and is subjected to points of view, beliefs, perspectives and powers and can be negotiable. From an objective authenticity point of view the pin of Goofy for example, is authentic because it is bought in authorised merchandise store and represents the 'real' Disney character. Looking from constructive perspective many could argue that the pin is a fake because it illustrates animated character that does not exist in real life (WDW, 2010). The existential authenticity proposed by Wang takes into consideration not only objects but also experiences of the tourist. Thus activities associated with the purchase of the Goofy pin would be a justification of the authenticity of the experience.
Tourists are looking for authentic experiences in terms of objective authenticity (Wang, 1999) and "staged authenticity" without tourists awareness (MacCannell, 1999) or more tolerant existential authenticity (Wang, 1999) and "authentic experience" (MacCannell, 1999). Ritzer and Liska (1997) in Wang (1999) prove that people search for inauthentic experiences as part of the culture. Wang (1999) suggests a quest for an existential authenticity for hedonistic experience and it seems that in that way Walt Disney Theme Parks and Resorts are marketed (The Walt Disney Company, 2010). The premise of this work is to make tourists and tourees aware of different perceptions of authenticity and there is no simple answer whether Walt Disney Parks and Resorts is authentic or inauthentic. Walt Disney World is more widely mentioned in the context of post-modernism, popular culture, hyper-reality or commodization in previous research, than directly linked with a concept of authenticity.



















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I have chosen to comment on this paper as it is similar to my own in that it touched on hyper-reality and fantasy. I have a great interest in this topic. Similarly to my own, you have talked about Walt Disney theme parks, the ultimate example of hyper-reality. Authenticity is not only an interesting topic but also a complex one that remains ambiguous.

You talk about how modern tourism is often accused of deteriorating authenticity and faking the real. This is interesting as I came across the same finding whilst doing my research. Authenticity refers to an original experience that is true to reality (Laliberte, 2005). As you mentioned, you can walk through a showcase of several countries in the world and get familiar with their culture through the Epcot theme park. Walt Disney (2010) states that "In Epcot theme park, creativity is encouraged, imagination is celebrated and countries are united". Although tourists have the opportunity to experience different culture the authenticity of this experience can be questioned. Do tourists really believe they are experiencing an authentic portrayal of different cultures and countries? You perhaps could have touched on hyper-reality here, and looked at how when they enter the park they enter a fantasy and dream and have no concept of reality.

Wang (1999) states that visiting Disneyland has nothing to do with authenticity in MacCannell's sense. You talk about MacCannell's ideas on staged authenticity in your paper, and I have to agree with what is said. Disneyland is a key example of staged authenticity. You mention that the tourists are not aware of this staged authenticity, however, and even though the tourists themselves think they have gained an authentic experience, this can, however, still be judged as inauthentic, if the toured objects are in fact false (Wang, 1999).

I particularly found it interesting to read about the section on 'playfulness' and Urry's view that people themselves are faking different roles and tourists themselves are part of the act that allows them to enjoy the experience and fun. This is a frightening suggestion. It seems that tourists are brainwashed in some way, and rather than see the inauthenticity of certain locations, i.e. Disney, they fully engage themselves in the experience, entering this illusion of reality where they believe that what they are experiencing is in some way real. Similar to this, you talk about imagination and how this may have resulted in the creation of such parks. It is intriguing what Pretes (1995) discussed about wanting to remain a child and how this is a key motivator in this form of tourism. This is an interesting suggestion and one that could be true and perhaps evident in today's society to an extent. Touching briefly on hyper-reality again it can be argued that tourists have this fantasy of experiencing childhood again and Disneyland offers them the perfect opportunity for this, enabling them to escape their everyday lives, even for a short amount of time.

To conclude, this paper was very interesting, and gave me more insight into the term authenticity. I have found from doing my own paper and reading this one that the term is very closely linked to hyper-reality, especially where concerning Disneyland and what is actually being experienced. A very well thought out paper, well done.


References

Laliberte, M. (2005) Authenticity- What do they (tourists) really want? Tourism Intelligence Network.

Pretes, M. (1995) Postmodern Tourism: The Santa Claus Industry. Annals of Tourism Research. 22(1), pp. 1-15.

Walt Disney (2010) Epcot overview. [online] [accessed 5th May, 2010] Available at: <http://disneyworld.disney.go.com/parks/epcot/>

Wang, N. (1999) Rethinking Authenticity in Tourism Experience. Annals of Tourism Research. 26(2), pp. 349-370.