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Identity and Development presents a remarkable record of Tonga's increasing participation in the modern global economy, and provides anthropologists, economists, and historians with a detailed case study that bears heavily on major issues of the day, both practically and theoretically. The book focuses on issues of identity, entrepreneurship, and the intricacies of development and addresses the question: 'How (in the current state of the economy) can a Tongan become a successful grower?' This question is set against the background of a boom in cash cropping, sparked by a burgeoning export trade with Japan

List of Illustrations Contributors Acknowledgments Notes on Texts Introduction (Paul Van der Grijp and Thomas Fillitz) PART 1. PICTURE AND MEDIUM1.1. The Making of Images (Philippe Descola, Collège de France, France)1.2. To Swallow or to Get Swallowed, This is the Question: On Viewing, Viewers and Frames in the Context of 'New' Images (Paolo S. H. Favero, University of Antwerp, Belgium) PART 2. WORLD ART STUDIES AND GLOBAL ART2.1. The Design of Pictorial Ontologies: From Unstitched Imaginaries to Stitched Images (Leyla Belkaïd-Neri, Parsons Paris, France) 2.2. How Global Art Came to Istanbul: The Context of the Istanbul Bienal (Danila Mayer, St. Pölten University of Applied Sciences, Austria)2.3. Concepts of 'Art World' and the Particularity of the Biennale of Dakar (Thomas Fillitz, University of Vienna, Austria) PART 3. ART MARKETS, MAECENAS AND COLLECTORS3.1. Contemporary Art in a Renaissance Setting: The Local Art System in Florence, Italy (Stuart Plattner, USA)3.2. Brazil's Booming Art Market: Calculations, Images, and the Promotionof a Market of Contemporary Art(Dayana Zdebsky de Cordova, Universidade Federal de São Carlos, Brazil)3.3.Awkward Art and Difficult Heritage: Nazi Collectors and Postcolonial Archives (Jonas Tinius, Humboldt-Universität zu Berlin, Germany)3.4. Collecting Art in Asia and the Pacific (Paul Van der Grijp, Institut d'Asie Orientale, France) PART 4. PARTICIPATORY ART AND COLLABORATION4.1. Trespassing Borders: Encounters and Resistances in Performance Art (Alicja Khatchikian, University of Vienna, Austria) 4.2. Contemporary Art in the Global South: Occupation // Participation // Knowledge (Alex Flynn, Durham University, UK)4.3. The Idle Goddess: Notes about Post-Relational Anthropology and Art (Roger Sansi University of Barcelona, Spain) INDEX

The longing for authenticity, on an individual or collective level, connects the search for external expressions to internal orientations. What is largely referred to as production of authenticity is a reformulation of cultural values and norms within the ongoing process of modernity, impacted by globalization and contemporary transnational cultural flows. This collection interrogates the notion of authenticity from an anthropological point of view and considers authenticity in terms of how meaning is produced in and through discourses about authenticity. Incorporating case studies from four continents, the topics reach from art and colonialism to exoticism-primitivism, film, ritual and wilderness. Some contributors emphasise the dichotomy between the academic use of the term and the one deployed in public spaces and political projects. All, however, consider authenticity as something that can only be understood ethnographically, and not as a simple characteristic or category used to distinguish some behaviors, experiences or material things from other less authentic versions