This paper discusses the Hong Kong naam4 jam1南音 duo The Gong Strikes One (TGSO hereafter) 一才鑼鼓’s artistic strategy for the promotion of the traditional music form to argue for the quantum nature of cultural authenticity and its significance for heritagization. Naam4 jam1 is a form of narrative singing in Cantonese widely performed by blind singers in everyday leisure and entertainment spaces from the late 19th century in the southern part of China. In Hong Kong, the rapid modernization of lifestyle from the 1960s displaced naam4 jam1 from its original habitat. Determined to sustain the art and craft of naam4 jam1, the artist-researchers of TGSO define the authenticity of the musical form in terms of the musicalisation of the speech in and of everyday life, around which the duo designed and organized its 2024 workshop series. Through analysing TGSO’s artistic strategy, this paper proposes the idea of “quantum authenticity”, which is the actively constructed essence of the heritage that reveals its complexity and possibility and invites contemporary participation and reinvention. The concept borrows the adaptive use of “quantum superposition” in cultural studies, which marks a state in which the multiplicity and multiple possibilities of reality simultaneously coexist. Instead of emphasizing the antiquity or the cultural-historical significance of naam4 jam1 that sees the traditional art form as a cultural capital, TGSO invents a pedagogy that systematically teaches the concepts, techniques and art of singing, playing and reading (the traditional texts of) naam4 jam1. By making the traditional art form relevant to and enjoyable in modern everyday life for everyone, TGSO sustains the heritage by democratizing it through making its aesthetics accessible via structured immersive practices.