Graburn (1989) has described other societies in which the production of art for heightened self- identity and self-value and has encouraged appreciation of indigenous craft and creativity. Analyzing the carving of Canadian and Alaskan Eskimos, the Maori community of New Zealand and the Kamba of Kenya, Graburn has suggested that “special economic relationship” may develop wherein a small-scale society uses its special skills to its advantage, surpassing the efforts of the larger society: “The Eskimos know that the white man cannot or will not carve soapstone as well as they can. The same might be said of Navajo jewelry and Maori woodcarving.”
The souvenir market and by extension the entire structure of everyday reality in the modern world depends on the perpetuation of authentic attractions which themselves are not for sale (MacCannell, 1976). While the sight itself constitutes the moment greatest intensity, as MacCannell goes on to say, returning with souvenirs validates and prolongs the experience. Youth tourists, especially the non-conventional ones, referred to in the literature as “drifter”, “wanderers” or travelers, one frequently exempts from such criticism. Then experiences are assumed to be more deeply into the host society than do mass tourists to avoid staged tourist settings (Cohen, 1982).
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