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defined in terms of the existence of alternative (non-modern) forms of life
or of untouched wilderness, then the very presence of the tourist makes
such experiences problematic.” Richter and Harrison (1992) consider the
politics of representation in authenticity, particularly in cultural and heri-
tage sites and attraction are of critical importance in the development of
indicators of authenticity. For Jamal and Hill (2004, p. 369), “the dynami-
cally constitutive nature of heritage is a similarly important consideration
for other national and public spaces characterized by emergent economies,
globalizing cultures and hybrid populations” like it is the case for Kazakh-
stan.
As postmodern society is characterized by fragmentation, confusion,
emptiness, alienation and by a crisis of morality and identity, people have
become concerned with identity, meaning and values (Cova, 1999), as
well as nostalgia and history (Goulding, 2000). The perception of a 'real'
travel experience can be dependent upon the notion of a genuine local
experience, which raises the issue of what is defined as traditional, origi-
nal and local. In the following sections, three dimensions and aspects for
addressing authenticity in cultural heritage tourism defined by Jamal and
Hill (2002) were applied to Kazakhstani cultural heritage and ecocultural
tourism practices (Tiberghien, et al., 2012).
OBJECTIVE AUTHENTICITY
The objective approach highlights that the authentic experience is achieved
thanks to the recognition of the authenticity of visited objects of the experi-
ence that are consumed. According to Wang (1999), objective authenticity
refers to the authenticity of originals; consequently the objective authen-
ticity of a lived experience corresponds to the authenticity of the objects
of the experience. For MacLeod (2006, p. 182) objective authenticity “is
placed on objects made from what is considered to be authentic materials
and by indigenous craftspeople or on events and rituals that we perceive
as being traditional emanations of genuine cultures.”
Original objects provide genuine touristic experiences for those who
recognize the authenticating signs (MacLeod, 2006). The commercial-
ization of culture and standardization of tourism experiences oppose the
originals to the ones that are perfectly replicated: what MacCannell (1976)
calls 'staged authenticity.' MacCannell's work reveals the complexity of
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