01916nas a2200289   4500000000100000000000100001008004100002653003200043653001300075653001200088653001700100653002400117653001200141653001100153653002200164653002100186653001600207653002800223653001200251100001300263700001700276245014800293856014300441490000700584520101500591022002001606                                       d10aAuthenticity of local music10aidentity10aLijiang10aLijiang town10aMirror stage theory10aTourism10aYunnan10acultural heritage10aheritage tourism10apersistence10aSustainable development10aTourism1 aDawei Li1 aShangyi Zhou00aEvaluating the Authenticity of Naxi Music in Three Stages from the Perspective of Naxi Musicians: An Application of Lacan s Mirror Stage Theory  uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-85103269167&doi=10.3390%2fsu13073720&partnerID=40&md5=0e04da6f262db4ad2c82010939c14d3c0 v133 aHow do people evaluate the transformation of a local music scene under tourism? Using Jacques Lacan’s mirror stage theory, Manuel Castells’ identity theory and Erik Cohen’s authentication theory, we build a framework to judge the authenticity of Naxi music in Lijiang, China, based on interviews, literature analysis and performance analysis. The conclusions are as follows. First, there are significant differences in authenticity among the three stages of Naxi music, as defined by Lacan’s theory. Second, we modify Erik Cohen’s authentication concept from the perspective of Lacan and read the spirit of persistence and innovation as “hot” authentication in the postmirror stage. Naxi musicians have clear project identity, as defined by Manuel Castells. Project identity means that they do not follow the mirror image of tourists blindly and pay attention to music and their own development. This research contributes to the sustainable development of intangible cultural heritage in tourism.  a20711050 (ISSN)