Evaluating the Authenticity of Naxi Music in Three Stages from the Perspective of Naxi Musicians: An Application of Lacan’s Mirror Stage Theory

Dawei Li and Shangyi Zhou
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Dawei Li: School of Geography, Faculty of Geographical Science, Beijing Normal University, Beijing 100875, China
Shangyi Zhou: School of Geography, Faculty of Geographical Science, Beijing Normal University, Beijing 100875, China

Sustainability, 2021, vol. 13, issue 7, 1-18

Abstract: How 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.

Keywords: authenticity of local music; identity; tourism; Lijiang Town; mirror stage theory (search for similar items in EconPapers)
JEL-codes: O13 Q Q0 Q2 Q3 Q5 Q56 (search for similar items in EconPapers)
Date: 2021
References: View references in EconPapers View complete reference list from CitEc
Citations: View citations in EconPapers (1)

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