[Mao Qiaohui] Recording and Preservation: A Probe into the Protection of Intangible Cultural Heritage of Folk Literature
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To: The "filing" in the Convention for the Protection of Intangible Cultural Heritage is one of the measures for the protection of intangible cultural heritage.
It includes the meaning of preservation and display, and emphasizes the effective preservation and proper use of intangible cultural heritage, especially its data form.
This protection measure mainly presents the preservation of records and data in the protection of intangible cultural heritage of folk literature in China.
Recording was an important way to preserve folk literature in ancient China.
After the rise of modern folk literature, Western concepts of cultural heritage influenced China's attitude towards folk literature.
However, no matter at the scholars or the national level, their understanding and absorption cannot be divorced from the traditional idea of collecting styles.
In the blending and mixing of collecting styles and cultural heritage ideas, the leading model of folk literature recording "centered on the presentation of literary texts."The preservation of folk literature materials follows the idea of preservation of "things." It is a continuation of customs museums, Jiefang District exhibitions, folk art exhibitions, performance arrangements and folk literature archives, and is mainly collected or placed in the museum premises for display."Recording" and "preservation" can be said to be forms of intangible cultural heritage protection with the characteristics of China's local discourse, but their neglect of "narration" and "folk custom fields" has greatly affected the survival of intangible cultural heritage in folk literature.
Amending and improving this issue can not only promote the development of academic research on folk literature, but also form a discourse on intangible cultural heritage protection with China local characteristics and contribute China wisdom to the protection of intangible cultural heritage in the world.
Keywords: record; text; data preservation; library; folk literature
1982, Mexico City Declaration on Cultural Policy The Mexico City Declaration on Cultural Policies (Mexico City Declaration) adopted a new definition of cultural heritage, which is defined as covering both material and intangible achievements that enable human creativity to be reflected: language, rituals, beliefs, historical monuments and relics, literature, works of art, archives and libraries.
Intangible heritage is folk customs or folklore (Folklore).
1992,"The Diversity of Our Creation"(Our Creative Diversity: Report of the World Commission on Culture and Development) emphasizes: "Intangible heritage is reflected in the collective memory of communities around the world...
enhances their sense of identity."In 2003, the 32nd UNESCO General Conference adopted the Convention for the Protection of Intangible Cultural Heritage (hereinafter referred to as the "Convention"), the document replaces folklore or folklore previously used in the UNESCO statute with intangible cultural heritage.
It is no longer equivalent to folklore (folk literature).
China became the sixth ratifying country on August 28, 2004, and has gradually established a four-level list protection system at the national, provincial, municipal and county levels.
The list is mainly divided into ten categories.
Folk literature, as one of the ten categories in the list of intangible cultural heritage, mainly includes myths, legends, stories, ballads, epics, long poems, proverbs, riddles, etc.; some content in the study of folk literature has not been included, such as folk rap being classified as "quyi"; Folk opera is classified as "traditional drama".
Among the 2278 items in the five batches of national-level intangible cultural heritage lists, there are 216 items in folk literature, accounting for about 9.48% of the total (see Table 1 for details).
Judging from the data of the national-level intangible cultural heritage list, except for the third and fourth batches, the proportion of folk literature items is often not high, which is not proportional to the abundant amount of folk literature in China.
Of course, there are also issues in the identification and compilation of the list of folk literature intangible cultural heritage lists, but more importantly, it exposes the retention status of folk literature intangible cultural heritage.
Filing is the main method for protecting folk literature intangible cultural heritage, which is also one of the important ways to protect the intangible cultural heritage of the Convention.
However, my country's filing work is mainly implemented at the two levels of recording and data preservation and collection, namely: "The primary task of the protection of intangible cultural heritage is to 'comprehensively conduct a census, find out the family background, highlight key points, and hurry up rescue'." At the same time, we must also consider "properly preserve and rationally utilize the census results", and the data obtained from the census can be properly preserved and collected through the Folk Museum.
The Convention's reference to filing includes preservation Preservation and display Promotion emphasizes the effective preservation and proper utilization of intangible intangible cultural heritage, especially its data form, in a tangible form, such as establishing archives institutions, collecting data and collecting and storing them under appropriate conditions for people's use; or Establish a special museum (Or set up a special area in an existing museum) for display, promotion and dissemination.
There are certain deviations between "recording" and "preservation" and the Convention's filing measures.
Some deviations have factors in the practice of intangible cultural heritage protection, but more are intrinsically related to the development of the academic concept of folk literature in China.
Specifically, what we say about "recording" mainly follows the model of presenting folk literature in written literary works, while data preservation is mainly collected or placed in the museum for display.
1.
Record: The mixture of collecting customs and cultural heritage
The international documentation work on intangible cultural heritage protection has been mentioned in the "Recommendations on the Protection of Cultural and Natural Heritage at the National Level" adopted by UNESCO in 1972:"Compiled a list of cultural and natural heritage" to strengthen the registration of heritage, and it is also proposed to establish a special archival data service agency to preserve related archival data and carry out archival data services.
In fact, this policy was brought to China by Lauri Honko during the "China-Finland Academic Seminar on the Collection and Preservation of Folk Literature" and the Sino-Finland Joint Inspection in 1986.
Hangko spoke at the "China-Finland Academic Seminar on the Collection and Preservation of Folk Literature" with the title of "Protection of Folk Literature-Why and How to Protect", which quoted the document being drafted by UNESCO.
Preservation involves the documentation of folk literature.
Its purpose is to utilize and develop these legends and provide researchers and legend rappers with information so that they can understand the interpretation and change process of legends.
Due to their own evolutionary characteristics, living folklore cannot always be directly preserved, but folklore that has been established should be effectively preserved.
With the joint efforts of folklore scholars and anthropologists represented by Hangke, the "Recommendation on the Protection of Folk Creation" was adopted at the 25th Session of the UNESCO General Conference in 1989.(hereinafter referred to as the "Proposal") continues the thinking on the issue of "preservation" of folk literature, elevates the "preservation" of folk customs/folk literature and art to the national level, and proposes that "a national archives institution should be established" to collect and store folk creative materials, involving "materials from folk creative traditions.
Without using or developing these traditions, the purpose of preservation is to enable traditional researchers and disseminators to use materials that will help them understand the evolution of legends."The preservation and filing of materials in the "Proposal" are based on the disciplines of folklore/folk literature.
The definition of filing is similar to data collection.
In the Chinese version of the "Proposal","documentation" is directly translated into "data" or equivalent to collection and recording.
In 2001, after the first batch of "masterpieces of human oral and intangible cultural heritage" was announced, intangible cultural heritage discourse began to enter China.
Almost at the same time, my country launched the rescue project of Chinese folk cultural heritage.
China Folk Literary and Art Association launched a census and filing of excellent traditional culture, and "achieved several major national projects and international cooperation projects.""Opinions on Strengthening the Protection of Intangible Cultural Heritage in my Country" issued in 2005 (hereinafter referred to as the "Opinions") reiterate and emphasize the accumulation of materials and the establishment of archives in folk literature; they are mostly carried out in the form of records and are guided by the cultural traditions formed in the academic history of collecting and sorting out folk literature and the cultural heritage in modern nationalist trends.
Guided by the idea of hybrid heritage.
In the 2005 "Opinions", it was also proposed to make full use of text, audio recording, video and digital multimedia methods to accumulate intangible cultural heritage materials, thereby establishing intangible cultural heritage archives and databases.
In the protection work, only through a complete, step-by-step and detailed dynamic process can we finally provide and support a community practice-centered heritage expression and its multiple dimensions (graphics, audio and video, physical objects, cultural spaces, humanistic ecology, cultural sites, etc.) that reflect the basic features of intangible cultural heritage projects, and ensure their continuous updating.
In ancient China, although there was no special or academic research on folk literature, attention was paid to the collection of folk literature materials since the Pre-Qin Dynasty, that is,"collecting poems to observe styles", so a large number of ancient folk literature materials have been preserved.
Since modern times, with the introduction of Western nationalist thoughts and popular cultural theories into China, the concept of "cultural heritage" has spread among intellectuals; however, in the acceptance of this concept, it is still deeply influenced by the traditional idea of collecting styles.
As "Caifeng Bao" said,"The stone printing industry is regarded as a help for leisure.
Although the end is not the secret of the stone room and the Lantai, the unofficial history of officials is also enough to persuade and punish the future.
After drinking, I can read it with the lamp after tea to silently realize the illusions of dreams and observe the differences of the world.
Therefore, it is enough to entertain the eyes and alert the mind to be good at writing and writing, and its unique beliefs are impressive." After the rise of modern folk literature, the study of folk literature seems to be separated from Chinese tradition.
In fact, while" anti-tradition", they are also continuing the tradition.
It can be said that modern folk literature developed under the joint influence of Western folklore thoughts and the tradition of collecting customs.
Although the latter was mostly hidden, the development of folk literature in different periods could not fade away the background of "collecting customs".
In 1918, the Peking University Daily published a guide for collecting songs, which kicked off the study of modern folk literature.
From the collection of songs at Peking University to the integration of the Song Research Society into the School of Chinese Studies and the publication of the weekly "Song Songs", we can see the inheritance of ancient China collection and the idea of establishing a general collection of materials.
Occasionally, some scholars are aware of issues such as "recording form" and "narration objects", but they basically follow the norms of literati literature to record folk literature.(Including compilation and adaptation).
In the 1930s, with the full outbreak of the war against Japanese aggression, folk literature attracted unprecedented attention due to its connection with "national thoughts." For example,"Education Weekly" published "No.
133 of 1932" Letter No.
64 of the Ministry of the Interior ", ordering the education departments and bureaus of various provinces and cities to collect materials on local tunes of drama and songs, and to formulate a survey outline for ballads and issue it to various localities for investigation, as an aid to changing customs.
Another example is the 69th issue of the Central Party Affairs Monthly in 1934, which published a letter from the Central Secretariat to the Executive Committee of Nanjing City,"On the Collection of Folk Songs and Common Words":
The previous report was submitted to the Central Committee for the case of "requesting the Ministry of Education to collect folk songs and common sayings, correct them separately, and effectively disseminate them to reform the national character." After the report was submitted to the Ministry of Education for review, I hereby approve a letter to reply: "In September 2021, the Ministry successively approved the Ministry of the Interior and the Central Propaganda Committee to collect letters on their behalf, and collected them through general orders and transferred them to their respective records.
The letter was approved before, and it should continue to be collected and sent.
As for folk sayings and stories, which have a great bearing on national thoughts, they should also be collected by this department so that they can be collected for collection and research, and then formulate correction and publicity methods.
In addition to sub-orders, corresponding replies should be sent to you, that is, you should check and transfer them to you."In addition to transferring them, you should also send them a corresponding letter to you.
At this time, the emphasis placed on folk literature was mainly based on "reforming national character" and hoped to create the ideal "modern citizen" through folk songs and common sayings that "related to national thoughts." In 1936, Xu Yitang served as a member of the National Customs Survey Committee of the Ministry of the Interior of the National Government, responsible for the preparation and training and guidance of religion, superstition, witchcraft, and taboos groups.
The Nanjing National Government's collection of "local music materials for drama and ballads" and the formulation of the "National Customs Survey Plan" basically "records, organizes and summarizes" the texts of folk literature in various places, and of course,"assists political affairs" and "attracts public opinion."
In Yan 'an and other places under the leadership of the Communist Party of China, it was emphasized that only by making full use of folk literary and artistic forms can literature and art reach the workers and peasants.
In 1942, Mao Zedong's "Speech at the Yan' an Forum on Literature and Art" further promoted folk literature and art into the literary and artistic heritage of the Chinese nation and regarded it as an integral part of new democratic culture.
His dual view of "class analysis" and "essence and dross" had a profound impact on the collection and recording of folk literature since then.
After the founding of the People's Republic of China, the literary and artistic styles and practical activities of "serving the people" during the Yan 'an period were promoted nationwide.
Ethnic identification and social and historical surveys of various ethnic groups in the 1950s provided an opportunity for the collection and collation of folk literature.
During this period, a wealth of ethnic epic, folk stories, jokes, etc.
were also collected and recorded.
Of course, the concept of collecting and collecting folk literature during the Yan' an period was followed in the collection and collation.
In 1979, the Ten-Year Plan for National Folk Literature Work was formulated by the Second Congress of China Folk Literature Workers (1980 - 1989)"census and collection work were listed as the top priority; in the same year, the Ministry of Culture and the Chinese Musicians Association issued the" Plan for Collecting and Coloring China's National Music Heritage "; on January 1, 1982, China Folk Literature and Art The Research Association held an enlarged meeting of its executive directors and proposed to" compile "Integration of Chinese Folk Stories" and "Integration of Chinese Folk Songs and Folk Songs" on the basis of census."Later, at the China-Finland Folk Literature Materials Preservation Seminar mentioned above, the two countries held dialogues and exchanges on the collection and recording of folk literature.
Experiences such as "A Survey of Ewenki Folk Literature","A Discussion on Several Issues in the General Survey of Folk Literature" and "On the Scientific Translation and Collation of Oroqen Folk Literature" show that Chinese folk literature records are mixed with collection and cultural heritage ideas.
It is also a reflection of the blending of Western folklore and Chinese local discourse formed in the Liberated Areas, that is, the focus on classification, The value and literary presentation are significantly different from the archival work advocated by Hangke.
This difference in discourse did not cause waves in the academic research of folk literature, because for folk literature researchers at that time, the protection of folk literature was folk literature research.
Later, as folk literature was included in the data system of folklore, the field work of folklore basically covered the field of folk literature, and this issue was further obscured.
However, in the protection of intangible cultural heritage, this idea of collection and recording has had a leading influence.
For intangible cultural heritage of folk literature, whether it is declared or protected, the presentation of literary texts has become the main body.
This is particularly prominent in the protection of folk stories, epics, legends, etc.
For example, the important achievements of "Geng Village Folk Stories" that were included in the first batch of national intangible cultural heritage lists are the publication of "One Thousand and One Nights in Geng Village","Selected Stories of Geng Village","Folk Stories of Geng Village", etc.
In recent years, many multi-volume epic texts such as "Gesar" and "Manas" have also been released.
In applying for the intangible cultural heritage list, most applicants will also provide myths, legends, story collections, etc.
recorded and compiled by the inheritors or applying units, such as the story of the Great Wall in Yanqing, Beijing, and the legend of Shichahai in Xicheng.
These materials are easy to understand in the academic history of China folk literature, and can also be said to be a derivative of folk literature research.
There are also many reflections and discussions in the study of folk literature on records based on the presentation of literary texts."The core of folklore is no longer regarded as collected and collated fixed-frame data.On the contrary, its significance and vitality lie in how it is continuously created, performed and accepted in people's daily lives."Oral literature is not only the oral characteristics of language, but also its narration-centered characteristics.
Folk literature cannot be ignored.
The narrative form, narrative context, etc.
However, intangible cultural heritage protection is different from the study of folk literature, because the presentation of text in intangible cultural heritage protection is easier to standardize and promote.
In this way, the impact it has is not comparable to the "deviation" brought about in the study of folk literature, and may even cause irreparable impact.
2.
Data preservation: library collection, display and display
Another important aspect of the protection and filing of intangible cultural heritage of folk literature is the preservation of materials.
The preservation of folk literature materials follows the idea of preservation of "things", that is, to store or display them, but pays more attention to folk literature archives (mainly text) data rather than the "process" from which it is derived.
In 1991,"The Diversity of Our Creation" proposed: Intangible heritage is not obtained in kind (Monuments, works of art, handicrafts) have the same concern, and "we must prevent the political trick of transforming the complexity of material and cultural evidence into simplified cultural identity information." The establishment of intangible cultural heritage museums was further strengthened in China, intangible cultural heritage museums have emerged in recent years, but they are not "trees without roots."my country's intangible cultural heritage museum is a continuation of the customs museum, the Jiefang District exhibition from the 1920s to the 1940s, the folk literature and art exhibitions, performance arrangements in the early days of the founding of the People's Republic of China, and the folk literature museum that emerged in the 1980s and 1990s.
During customs surveys in the 1920s, researchers have realized that it is necessary to establish customs museums, just like museums, to preserve books and obtain or collect artifacts during field surveys.
These artifacts include "various costumes, decorations, utensils and their models, pictures, photos, etc." that carry the meaning of "wind".
Customs museums focus on "the process of human evolution in ancient civilizations.
In addition to information, they must also be based on the investigation of physical objects and relics."However, the exhibition continues the tradition of ancient China's epigraphy, and most of the exhibits are gold and stone rubbings.
According to the 1924 "Price of gold and stone rubbings Collected in the Archaeological Exhibition Room of the National Studies School of the Research Institute", the objects on display include "Sanyang Mirror","Qingyang Mirror","White Tiger on the Right Mirror","Upper Mirror","Tianma Grape Mirror", etc.
The "display" of the folk museum during this period has reflected the style of "people's living customs and habits":
The elements of people's life can be divided into two material materials: material and social (or cultural).
They can include all the objects used in people's lives.
For example, daily necessities, folk crafts, and all other folk objects.
As for the social aspects, they can include all the people's living conditions.
For example, marriage, burial, etiquette and customs, societies and other inherent folk organizations, people's lives, etc.
While attaching importance to tangible "things", scholars have gradually realized the shortcomings in the "display" of folk museums, that is, many displays shield the humanistic and historical environment and are not a living reproduction.
Although scholars hope that through "display", the "audience" who enters the museum can gain "considerable knowledge"-"like traveling around the world." However, this is actually an ideal way to maximize the function of folk museums.
This created an inherent contradiction between "display" and the "knowledge" carried by "objects".
Therefore, in the 1930s and 1930s, academic circles focused on issues such as "tangible and intangible","objects and non-objects" and "inheritance ownership".
Discussions were launched.
Among them, Xu Dishan pointed out that "the quintessence of national culture" means "the unique superior national spirit and culture of the country","what is unique to a nation does not have to be the quintessence of the country","the legacy of customs left by a nation in a long time does not have to be the quintessence of the country","What a nation considers beautiful does not have to be the quintessence of the country","A nation has made important contributions to mankind, or at least the nation, in material, spiritual and ideological terms, and this contribution continues to be functional and developing.
Only then can it be called the quintessence of the nation."He also talked about the importance of" National Inheritance "or" Legacy of the Nation ":
Culturalists describe the superior legacy and thoughts of a country to the citizens of later generations.
The purpose is not to "compete for treasures" or "present treasures"...
They are just to tell and take out the good stories and relics of their ancestors.
Let them know the past achievements of the nation and stimulate them to work harder to move towards a more successful path.
Therefore, knowledge and identification are very needed.
Xu Dishan's above views were further developed in various "exhibitions" in the anti-Japanese base areas.
In the 1940s, under the influence of the Soviet Union's "socialist museum studies", various "exhibitions" in the Jiefang District paid special attention to revolutionary education and publicity of the people.
For example, on April 23, 1941, the Mongolian Culture Promotion Association in the Shaanxi-Gansu-Ningxia Border Region held a cultural relics exhibition.
The exhibition includes 86 paintings, 45 photos, 28 Lama ritual instruments, 43 pattern paintings and a variety of Inner Mongolia revolutionary documents.
This allows "a far-off glimpse of Mongolia's splendid culture and revolutionary historical sites in the past."At this time, the "exhibition" was limited by the war environment and still focused on the display of "objects", but it had begun to pay attention to the choice of "exhibition space".
In addition to using people's education centers, government auditoriums, school classrooms, government buildings and other places to hold "exhibitions", it also consciously used folk cultural symbols of "traditional public spaces" such as temple fairs.
After the founding of the People's Republic of China, it paid attention to the protection of cultural heritage.
The main work of the China Folk Literature and Art Research Association listed in the "Charter of the China Folk Literature and Art Research Association" includes "achievements in publishing, exhibitions or performances, and research" to "help promote the creation, improvement and development of folk literature and art." It can be seen from this that exhibitions or performance organization has been clearly regarded as part of the study of folk art.
At the same time, a large number of folk art works were displayed in art galleries and museums, such as peasant paintings.
The display or display of folk art in this period mostly revolved around the promotion and dissemination of socialist national culture, combined with the literacy movement, literacy movement and the development of popular art movement of workers, peasants and soldiers at that time, showing the changes in the value and function of folk art.
Since the reform and opening up, with the increase in international exchanges, my country has built a large number of folk literature archives, folk exhibition rooms, folk museums, and local document archives, and adopted new international media technologies at that time in these buildings.
For example, the Riverside Folk Museum in Shanxi Province uses miniature models, sound and light control, text descriptions, picture displays, etc.
to highlight the importance of "original objects" in the "display" of folk customs.
The emphasis on "original objects" here actually concerns the understanding of "displays" in folk "displays": works of art cannot be identified through some attributes of material appearance, and their identification actually depends on something that grants them identity.(Confer Status) social system.
As Hangke said: The key to "folk creation" lies in "tradition" and "cultural identity" rather than "art".
Although exhibitions at this time still rely on objects, they have begun to consciously develop from "collection" and "display" to explanatory "display".
At the beginning of the 21st century, after the discourse of "intangible cultural heritage" entered China,"museum buildings" industries such as museums, exhibition halls, and performing arts halls were widely used in intangible cultural heritage protection.
The 2005 "Opinions" clearly included museums as protection institutions.
In October 2006, the Ministry of Culture reviewed and approved the "Interim Measures for the Protection and Management of National Intangible Cultural Heritage", proposing the concept of establishing a national intangible cultural heritage museum, and intangible cultural heritage museums entered the public eye.
Intangible cultural heritage museums reflect the importance they attach to the display of "non-objects" and also show changes in the research concept of folk literature.
Overall: in the 1920s and 1930s, customs museums played a role in collecting data.
In the 1940s, under the influence of the concept of national quintessence, attention should be paid to the importance of "knowledge and identification" of museum displays; During this period, in the areas led by the Communist Party of China, the combination of "displays" and "exhibition spaces" was formed with the help of "natural exhibition spaces" such as temple fairs.
After the founding of the People's Republic of China, folk literature and art exhibitions were officially incorporated into the research and management of folk literature and art, and they played a role in shaping new socialist people.
Since the reform and opening up, the "display" of folk literature in "museums","exhibitions" and "performing arts halls" has begun to consciously explore "tradition" and "cultural identity", and has also broken through "literature and art" in the choice of "displays"."Threshold, pay more attention to the interpretation of" tradition ".
Since the beginning of the 21st century, especially after 2006, under the influence of the intangible cultural heritage craze, various intangible cultural heritage museums have been built.
The exhibition method of folk literature intangible cultural heritage museums strives to comply with the requirements of the Convention for filing and present folk literature and art inheritance.
The integrity and vitality of the inheritance.
However, as we all know, although the concept behind it is good, there is often a certain gap between its actual exhibition, influence and effect.
Regardless of the "recording" and "display" of folk literature during any period, its research and practice have followed the "object (or text) as the center" and the collected "physical objects"(or "text") are used as records and display objects, while ignoring the "narrator","narration behavior","narration context" and "folk custom field", which are precisely the key to the survival of folk literature intangible cultural heritage.
3.
The key to the survival of intangible cultural heritage of folk literature: "narration" and "folk custom field"
From the 1972 Convention for the Protection of the World Cultural and Natural Heritage to the 1989 Recommendation, to the 1998 "Regulations on the Declaration of Representative Works of the Oral and Intangible Heritage of Humanity" and the first batch of "Representative Works of Oral and Intangible Heritage of Humanity" promulgated in 2001,"The List of Representative Works of Human Oral and Intangible Heritage" has effectively promoted the deepening of heritage protection from material to intangible and from theory to practice.
The 1989 Recommendation pointed out:"Protection of folk creation" involves the maintenance of folk creation traditions and their disseminators."Measures must be taken to ensure the status of folk creation traditions and ensure economic support both within and outside the groups that produce folk creation traditions."The "internal and external groups of folk creative traditions" mentioned here were further expressed as "ensuring the survival of intangible cultural heritage" in the definition of the connotation of "protection" in the 2003 Convention, which has also become an intangible cultural heritage.
The core concept of heritage protection.
Since the rise of modern folk literature, researchers have realized the uniqueness of folk literature compared with other literary styles, that is, its transformation from words to speech, and its development from "learning based on eyes" to "learning based on ears." In the study of folk literature in New China, scholars have gradually realized the lack of "narration" in the collection and recording of folk literature.
Later, scholars put forward the "Folk Literature Field Theory" in response to the protection of folk literature (which was more used in the past), folk events and cultural forms, data collection and field issues in the evolution of folk literature history, etc.
These academic discussions have not been put into academic practice due to the long-established research paradigm centered on "text"(or "object"); In the protection of intangible cultural heritage, due to the attention paid to protection, previous research focused on "texts" and "objects", while the limitation of weak attention to "narration" and "folk fields" has become increasingly prominent.
In fact, as early as 1986,"China-Finland Academic Seminar on the Collection and Preservation of Folk Literature", Hangke mentioned this issue, but it was not clearly expressed as "narration" and "folk fields" at that time, but was covered by the term "expression of folk literature":
The expression of folk literature is always closely related to their source.
Once separated from the source, a very important component will be lost and its original meaning will likely be lost.
Their content can only be truly understood based on their cultural background.
Without this background, the entire inner meaning will change, becoming an understanding of the meaning of people, and losing the original meaning of the creator.
It mentions that the expression of folk literature needs to be closely connected to the "source", and the understanding of folk literature needs to be deeply understood and understood from its "cultural background".
Take the intangible cultural heritage of folk literature "Horqin Chaoer Epic" as an example.
As a local traditional narration form of Mongolian epics, the Horqin Chaoer Epic is accompanied by Chaoer, a stringed instrument, and the specialized epic artist Chaoer performs a rap performance in the form of self-singing.
It tells the story of the gods born into the world and becoming Khan and heroes, fighting the demon Panggusi, who endangers the world, defending their hometown and defending peace.
If the audience does not understand these "cultural background", they may feel a little "abrupt" in their "narration".
The formation of this "sudden" feeling is closely related to the "traditional reference" behind the epic's "narration".
There is an imaginary metaphor for this phenomenon, that is,"Live fish must be seen in the water." That is to say, the protection of intangible cultural heritage of folk literature requires the collection and collation of materials, tapes and films to modern digital technology and "institutionalization".
Display is based on protection concepts and academic research, and is closely integrated with "joint practice of communities, groups and individuals." This is also the fundamental reason for maintaining the survival of intangible cultural heritage.
In the practice of intangible cultural heritage protection, we must also take into account the connection and reconciliation of intangible cultural heritage and academic research.
Taking the "Legend of Dayu" as an example, its "ceremonial" and "cat women" have been stripped off in the compilation of intangible cultural heritage protection lists and lists."Dayu Sacrifice" and "Legend of Yu" belong to two categories: "folk customs" and "folk literature".
On the one hand, this "stripping" is because in the protection of intangible cultural heritage of folk literature, the protection of intangible cultural heritage is mainly based on "text" records and "physical objects" display; On the other hand, my country's intangible cultural heritage practice cannot be divorced from academic research on folk literature, and cannot be simply classified according to the intangible cultural heritage list.
Distinguishing "folk literature" and "folk customs" in the category of intangible cultural heritage, this distinction itself hides the basic fact that "folk literature" has both material and tangible forms, as well as intangible and intangible forms, thus leading to a one-sided understanding of "folk literature".
This is neither in line with the academic development concept of folk literature in China, nor does it adapt to the current status quo of the protection of intangible cultural heritage of folk literature.
This distinction can actually easily cause the dilemma of the survival of intangible cultural heritage of folk literature.
In order to make up for the "dilemma" of inheritance and communication caused by "differences" in work and cognition, in specific protection practice, we must pay attention to the "narration" of folk literature and the "folk field" where it develops.
Thinking about "narration" and "folk field" in the protection of intangible cultural heritage of folk literature has also reversed the development of current folk literature research.
At present, the academic community is paying more and more attention to "narration" and "field" in folk literature research, such as proposing storytelling centered.
For most categories of folk literature,"narration" may be preserved or rebuilt in various ways, but the transformation or disappearance of "folk customs fields" is an irreversible fact.
Therefore, this requires us to pay attention to the "restoration" and "regeneration" of "folk customs fields" in the protection of intangible cultural heritage in folk literature.
At present, the discussion and practice of intangible cultural heritage protection of folk literature cannot avoid the issue of "folk arts fields".
The most ideal method is to restore "folk arts fields" as much as possible when conditions permit.
However, in specific practice, there are indeed some phenomena that "folk arts fields" cannot be restored.
For this reason, scholars have proposed several feasible paths, such as using "transplantation" and "regeneration" methods to build a new folk arts field; Use the dual-track combination of "reconstruction" and "re-performance" to achieve the effect of "living inheritance" of folk literature.
4.
Conclusion
After the rise of intangible cultural heritage in China, the study of folk literature is inseparable from this cultural context.
Folk literature projects included in the intangible cultural heritage protection lists at all levels have become new hotspots in folk literature research, shifting from "local knowledge" research to attention to public discourse expression.
At the same time, my country cannot deviate from the academic context of its own folk literature research when implementing the Convention and absorbing and drawing on the experience of other countries in the world in the protection of intangible cultural heritage of folk literature.
This is also a record based on the presentation of literary texts as the leading model and a theoretical prerequisite for the formation of a data preservation and protection path based on "display of objects".
The protection of intangible cultural heritage of folk literature and academic research of folk literature stare at each other and promote each other: On the one hand, scholars engaged in folk literature research actively participate in the protection of intangible cultural heritage, and their specific experience in intangible cultural heritage practice will naturally be included in their own research scope, thereby triggering new issues and theoretical thinking in folk literature research, such as the deepening of folk literature text research, ethical issues in field investigations, the return of folk literature to its true nature of life and the centrality of narration; On the other hand, the development and promotion of academic research on folk literature has also been internalized into the practice of intangible cultural heritage protection in folk literature, which has formed intangible cultural heritage protection with the characteristics of local discourse.
Of course, there are certain deviations, but restoration or improvement should not be divorced from the current development track.
This not only ensures the connection between the protection of intangible cultural heritage of folk literature and academic research of folk literature, but also lays the foundation for the formulation and construction of intangible cultural heritage protection concepts based on China's local experience.
In the future, it can also provide China experience for the protection of intangible cultural heritage in the world.
(The original text is published in "Journal of the Central University for Nationalities (Philosophy and Social Sciences Edition)", No.
3, 2022.
The annotations are omitted.
See the original issue for details)