[Ma Shengde] Several issues to be paid attention to in the construction of cultural and ecological protection experimental zones
Summary: The construction of a national-level cultural and ecological protection experimental zone is an important measure in the protection of intangible cultural heritage in my country.
It is the shift of intangible cultural heritage protection from a single project-based protection to focusing on the overall protection of the cultural ecology nurtured and developed by heritage projects.
Specific practice.
After 10 years of exploration and practice, the construction of the cultural and ecological protection experimental zone has been comprehensively advanced and has begun to take shape.
In the construction work, it is also necessary to deepen understanding, further clarify ideas, clarify goals, and grasp the direction.
Combined with the author's many years of experience and thoughts in the construction and management of intangible cultural heritage protection and cultural ecological protection experimental zones, we will further explore effective ways to promote the construction of cultural ecological protection zones from the original construction background, positioning and goals, core issues, cultural characteristics, the relationship between cultural tourism and cultural ecological zones, and government-led role.
Keywords: cultural ecological protection experimental zone; cultural characteristics; cultural ecological protection and restoration; Cultural tourism; Introduction to the government-led author: Ma Shengde, former deputy director, inspector and researcher of the Intangible Cultural Heritage Department of the Ministry of Culture, mainly studying the management and protection of intangible cultural heritage
Since my country established the first national-level cultural and ecological protection experimental zone "Southern Fujian Cultural and Ecological Protection Experimental Zone" in Fujian Province in 2007, the construction of my country's cultural and ecological protection experimental zones has gone through a full 10 years.
With continuous exploration and practice over the past 10 years, the construction of my country's cultural and ecological protection experimental zones has begun to take shape.
Currently, 21 national-level cultural and ecological protection experimental zones have been established across the country.
See Table 1).
Table 1: List of 21 national-level cultural and ecological protection experimental zones
serial number
names
division of
setup time
1
Southern Fujian Cultural and Ecological Protection Experimental Area
Xiamen City, Zhangzhou City, Quanzhou City, Fujian Province)
June 2007
2
Huizhou Cultural and Ecological Protection Experimental Area
Huangshan City, Jixi County, Anhui Province)
January 2008
Jiangzhu County, Jiangxi Province)
January 2008
3
Regong Cultural and Ecological Protection Experimental Area
Huangnan Tibetan Autonomous Prefecture, Qinghai Province)
August 2008
4
Qiang Cultural and Ecological Protection Experimental Area
Mao County, Wenchuan County, Li County, Songpan County, Heishui County, Aba Tibetan and Qiang Autonomous Prefecture, Sichuan Province, Beichuan Qiang Autonomous County, Mianyang City, Pingyang County, Sichuan Province
Wu County)
October 2008
Ningqiang County, Lueyang County, Shaanxi Province)
October 2008
5
Hakka Culture Meizhou) Ecological Protection Experimental Area
Meizhou City, Guangdong Province)
May 2010
6
Experimental Area for Cultural and Ecological Protection of Tujia and Miao Nationality in Wuling Mountains, Xiangxi)
Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province)
May 2010
7
Ocean Fisheries Culture Xiangshan) Ecological Protection Experimental Area
Xiangshan County, Zhejiang Province)
June 2010
8
Jinzhong Cultural and Ecological Protection Experimental Area
Jinzhong City, Shanxi Province, Xiaodian District, Jinyuan District, Qingxu County, Yangqu County, Taiyuan City, Jiaocheng County, Wenshui County, Fenyang City, Xiaoyi City, Luliang City)
June 2010
9
Weishui Cultural Ecological Protection Experimental Area
Weifang City, Shandong Province)
November 2010
10
Diqing National Culture and Ecological Protection Experimental Area
Diqing Tibetan Autonomous Prefecture, Yunnan Province)
November 2010
11
Dali Cultural Ecological Protection Experimental Area
Dali Bai Autonomous Prefecture, Yunnan Province)
January 2011
12
Northern Shaanxi Cultural and Ecological Protection Experimental Area
Yan 'an City, Yulin City, Shaanxi Province)
April 2012
13
Tonggu Culture Hechi) Ecological Protection Experimental Area
Hechi City, Guangxi Zhuang Autonomous Region)
December 2012
14
Qiandongnan Ethnic Culture and Ecological Protection Experimental Area
Qiandongnan Miao and Dong Autonomous Prefecture, Guizhou Province)
December 2012
15
Hakka Culture Gannan) Ecological Protection Experimental Area
Ganzhou City, Jiangxi Province)
January 2013
16
Gesar Culture Guoluo) Ecological Protection Experimental Area
Guoluo Tibetan Autonomous Prefecture, Qinghai Province
August 2014
17
Experimental Area for Cultural and Ecological Protection of Tujia and Miao Nationality in Wuling Mountains, Southwest Hubei)
Enshi Tujia and Miao Autonomous Prefecture, Hubei Province, Changyang Tujia and Miao Autonomous County, Wufeng Tujia and Miao Autonomous County, Yichang City
August 2014
18
Experimental Area for Cultural and Ecological Protection of Tujia and Miao Nationality in Wuling Mountains and Southeast Chongqing
Qianjiang District, Chongqing, Shizhu Tujia and Miao Autonomous County, Pengshui Miao and Tujia Autonomous County, Xiushan Tujia and Miao Autonomous County, Youyang Tujia and Miao Autonomous County, Wulong County
August 2014
19
Rap Culture Baofeng) Ecological Protection Experimental Area
Baofeng County, Henan Province
January 2017
20
Tibetan Culture Yushu) Ecological Protection Experimental Area
Yushu Tibetan Autonomous Prefecture, Qinghai Province
January 2017
21
Hakka Culture Minxi) Ecological Protection Experimental Area
Changting County, Shanghang County, Wuping County, Zaixi County, Yongding District, Longyan City, Fujian Province, and Ninghua County, Qingliu County, Mingxi County, Sanming City
January 2017
Sources of information; Information from the meeting on the "National Cultural and Ecological Protection Experimental Zone Construction Work Symposium" held by the Intangible Cultural Heritage Department of the former Ministry of Culture in July 2017) These 21 cultural and ecological protection zones are distributed in 17 provinces, autonomous regions and municipalities across the country, 11 of which are in ethnic minority areas.
There are currently 146 provincial-level cultural and ecological protection experimental zones established in various provinces, autonomous regions and municipalities across the country.
Over the past 10 years, the construction of cultural and ecological reserves has played an important role in promoting the overall protection of my country's intangible cultural heritage and promoting the coordinated development of regional economy and society.
At present, the construction of my country's cultural and ecological protection experimental zones is in a critical period.
It is also necessary to further clarify ideas and clarify construction goals at the cognitive level.
Protection work needs to pay attention to the following aspects.
1.
Background of the construction of cultural and ecological reserves.
Our country's intangible cultural heritage protection work under the concept of "intangible cultural heritage" has gone through 17 years.
The important time point was when Kunqu Opera was selected as the "Representative of Oral and Intangible Heritage of Humanity" in 2001.
After more than ten years of unremitting efforts, intangible cultural heritage protection, a cause related to the common interests of mankind and the inheritance of the Chinese nation, has received academic support from experts and scholars and extensive participation from the public under the leadership of the government.
Achievements have attracted worldwide attention.
Intangible cultural heritage protection has become an important event and a highlight in my country's cultural construction.
Over the past ten years, we have established protection systems and mechanisms that are in line with China's national conditions and characteristics of intangible cultural heritage, and completed the top-level design and important basic work of protection work.
For example, the application system for representative projects, the identification system for representative inheritors, the promulgation of laws and regulations, the establishment of Cultural Heritage Day, the establishment of special funds for non-heritage protection, the exploration and research of intangible cultural heritage protection methods and methods, as well as the joint participation of 15 ministries and commissions The establishment of the inter-ministerial joint conference system on intangible cultural heritage protection and the establishment of an expert committee on intangible cultural heritage protection composed of multi-disciplinary experts have played a role in protecting intangible cultural heritage protection.
With the comprehensive advancement of intangible cultural heritage protection work and the continuous deepening of theoretical research on intangible cultural heritage, we have gradually realized that protecting intangible cultural heritage through a single project protection is not enough and incomplete.
Protection work must also pay attention to the cultural ecology nurtured and developed by these heritage projects, because this is the soil on which heritage projects rely for survival and development, and is an important factor associated with heritage.
Any heritage project by no means exists in isolation.
Its survival and development are inherently related to the overall ecology of the surrounding area.
Only by paying attention to these important factors and characteristics of heritage projects can heritage protection be effective.
Only then can heritage projects survive healthily.
Therefore, establishing a holistic concept of protection and care in intangible cultural heritage protection is a very urgent and important task.
my country's implementation of the construction of national-level cultural and ecological protection experimental zones is based on the "Opinions of the General Office of the State Council on Strengthening the Protection of Intangible Cultural Heritage in my Country" State Council Fa [2005] No.
18):"Research and explore ways to maintain a relatively complete and unique value of traditional cultural ecology, and" Strengthen the protection of ethnic minority cultural heritage and cultural ecological protection areas "in the" Notice of the State Council on Strengthening the Protection of Cultural Heritage "Guo Fa [2005] No.
42).
Focus on supporting the protection of intangible cultural heritage in ethnic minority areas.
For areas with rich cultural heritage and relatively complete traditional cultural ecology, dynamic and overall protection must be carried out in a planned manner.
For ethnic minority cultural heritage and cultural ecological areas that are truly endangered, they must be included in the protection list as soon as possible, and protection measures must be implemented."Emergency rescue and protection" requirements.
In addition, the "Outline of the National Cultural Development Plan for the Eleventh Five-Year Plan" issued in 2006 proposed that during the "Eleventh Five-Year Plan" period,"10 national-level ethnic and folk cultural ecological reserves should be identified."In the "Intangible Cultural Heritage Law of the People's Republic of China"[1] 14 hereinafter referred to as the "Intangible Cultural Heritage Law") promulgated in 2011, although the concept of cultural and ecological protection zones does not appear, there is a special discussion in Article 26 of Chapter 3:"For specific areas where representative items of intangible cultural heritage are concentrated, distinctive characteristics, and complete form and connotation, the local cultural authorities may formulate special protection plans, and report them to the people's government at the same level for approval, implement regional overall protection." The expression of "implementing regional overall protection" is the core concept and key content of the construction of cultural and ecological protection zones.
In accordance with the spirit of the above documents and overall work requirements, the Ministry of Culture has successively approved the establishment of 21 national-level cultural and ecological protection experimental zones, fully implement the construction of cultural and ecological protection zones, and promote the overall protection of intangible cultural heritage.
The construction of cultural and ecological reserves is an exploration of my country's intangible cultural heritage protection methods.
It is the transformation of my country's intangible cultural heritage protection from a single project-based protection to a focus on the implementation of the humanistic ecology and natural ecology nurtured and dependent on intangible cultural heritage projects.
Sexual protection is a deepening of intangible cultural heritage protection at the conceptual and cognitive levels, and is also a creative measure in my country in the field of intangible cultural heritage protection.
The construction of cultural and ecological protection zones not only effectively promotes the protection of intangible cultural heritage in China, but also attracts high attention from UNESCO and some countries.
Using the concept of cultural ecology, through the practice of establishing cultural ecological protection experimental areas, creatively put forward the overall protection of intangible cultural heritage, which is not only the expression of China's spiritual understanding of the Convention for the Protection of Intangible Cultural Heritage, but also the embodiment of the ability of a large country with cultural resources to implement the Convention.
The concept of cultural ecological protection zone is embedded in intangible cultural heritage protection, which is based on the dynamic attributes of intangible cultural heritage and its characteristics interrelated with environment, history and re-creation of heritage holders, and implements the exploration and practice mode of holistic constructive protection mode [2].
2.
Paying attention to the relationship between human beings and the environment and strengthening the protection and restoration of cultural ecology is the core issue in the construction of cultural ecological protection zones.
In cultural ecological protection zones, the environment first emphasizes the human environment, which is closely related to spiritual factors such as concepts, ideas, beliefs and other cultural manifestations.
UNESCO has confirmed that seven factors: cultural standardization, armed conflict, tourism development, industrialization, reduction of agricultural areas, immigration, and environmental degradation have directly led to the endangerment or disappearance of human intangible cultural heritage.
In other words, when human society has gone through a long historical process and entered the 21st century, a distinctive feature is that the modernization processes such as economic globalization, industrialization, and urbanization are faster than at any previous period.
As a result, human production The phenomenon of simplification and convergence of lifestyles is serious.
It directly leads to a sharp decline in cultural diversity and personalization, which is a global common topic.
Taking the situation of China as an example, in the 40 years of reform and opening up, the modernization process has advanced rapidly, and China society has undergone profound changes.
People's ideas, food, housing and transportation have undergone earth-shaking changes.
While sharing the fruits of modern civilization, they also deeply feel the huge impact of modernization on traditional cultural ecology, making it difficult to inherit many intangible cultural heritage in an orderly manner and survival in an endangered state.
The fundamental reason is that the traditional cultural ecology on which cultural heritage relies has undergone fundamental changes.
To this end, rescuing and protecting intangible cultural heritage, strengthening the overall protection of intangible cultural heritage, protecting and restoring intangible cultural heritage on which it relies, and building cultural ecological reserves have become a very urgent task.
The ultimate goal of building a cultural ecological reserve is to coordinate human life with the natural environment and social environment, so as to establish a harmonious structure of cultural self-belief, cultural self-adaptation, and cultural consciousness.Achieving this goal is the fundamental task of the construction of cultural ecological reserves.
Therefore, the construction of cultural ecological reserves must focus on this theme, and special attention must be paid to the protection and restoration of cultural ecology during construction.
We have repeatedly emphasized that Cultural ecological reserves are not economic development zones or cultural industrial parks."National cultural and ecological reserves refer to specific areas established with the approval of the Ministry of Culture, focusing on the protection of intangible cultural heritage, providing overall protection of cultural forms with rich historical and cultural accumulation, good survival, important value and distinctive characteristics, and are established with the approval of the Ministry of Culture.
area."[1] 315 This is the clear definition of cultural and ecological reserves in the" Guiding Opinions of the Ministry of Culture and Culture on the Construction of National Cultural and Ecological Reserves "issued by the Ministry of Culture in 2010 (Wen Yi Fa [2010] No.
7).
Based on this, we should have a basic understanding of the construction of cultural and ecological reserves, that is, we must realize that cultural and ecological reserves with intangible cultural heritage as the core.
The main objects of protection are the people who create and inherit cultural heritage and their survival.
Ecological environment.
In the construction of protected areas, we must prevent cultural and ecological protected areas from being mistakenly understood as general economic development zones and cultural industrial parks.
We must not blindly emphasize development and utilization and oppose blind construction, especially various so-called theme parks built in the name of protection., industrial parks and formalist buildings, halls, etc.
The construction of cultural and ecological reserves cannot call on everyone to use intangible cultural heritage to make money, and to engage in industrialization and marketization, thus neglecting the protection and restoration of cultural ecology, and even ultimately destroying the cultural ecology.
This is a short-sighted behavior.
It is completely contrary to the original intention of the country to build cultural and ecological reserves.
In July 2017, the "National Cultural and Ecological Reserve Construction Forum" was held in Huangnan Tibetan Autonomous Prefecture, Qinghai.
Experts and scholars attending the meeting conducted in-depth inspections of the Regong Cultural and Ecological Reserve and witnessed the changes that have taken place in the construction of the reserve in recent years.
As a member of this forum, the author personally felt the changes that have taken place in the Regong Cultural and Ecological Reserve and left a deep impression.
The Regong Cultural and Ecological Protection Experimental Zone is the first ethnic minority cultural and ecological protection zone established in my country.
Since its establishment in 2008, after 10 years of hard construction, the cultural ecology of the Regong area has been significantly restored, and the ecological zone presents a good cultural atmosphere [3].
It is particularly worth mentioning that the art of Tibetan opera, which has been in decline for many years, has developed well in the Regong Ecological Zone.
The number of spontaneous Tibetan opera troupes has increased from 4 - 5 10 years ago to the current number.
There are 18.
Tibetan opera performance teams are not only formed by folk villages, but also by herdsmen and schools in pastoral areas, as well as Tibetan opera teams established by religious sites and temples.
The performance areas of Tibetan opera span agricultural areas, pastoral areas, towns, and cities, and cross-province and cross-regional exchanges and performances have become a normal behavior.
Such a development trend has effectively promoted the development of Tibetan opera art.
The number of practitioners in Tibetan opera in the reserve has reached more than 600, a number that was unimaginable 10 years ago.
The annual traditional folk activity "June Festival" in the Regong area has been carried out in many villages.
The folk cultural atmosphere is becoming increasingly strong and people's participation is getting higher and higher.
The "representative work of human intangible cultural heritage", which is mainly cultural expressions such as Thangka, pile embroidery, clay sculpture, wood carving, painting, murals, and stone carvings, has made great progress.
According to statistics, there are currently more than 30,000 practitioners of "Regong Art".
The majority of practitioners have not only increased their income and improved their quality of life, but also promoted the social and economic development of the Regong area and well inherited national culture; At the same time, it has played an important role in social stability and harmonious development in ethnic areas.
A number of intangible cultural heritage infrastructure built has played an important role in the protection and inheritance of intangible cultural heritage.
For example, the newly built "Regong Art Museum" has become a landmark building in the cultural and ecological protection experimental area.
The design of the venue has distinctive ethnic characteristics, complete functions, and rich content, making it an important window for people to understand Regong culture.
The 16 folk Tibetan opera troupes in the reserve all have fixed performance venues.
Among them, Jiangshijia Village, Langjia Village, Shuangpengxi Village, Jiancang Village, Heri Village, etc., the hometown of Tibetan opera, have newly built stages and squares, forming a new community cultural space, ending the long-term history of Tibetan opera actors performing open-air and exposed to the wind and sun.
Now, villagers can enjoy modern stage Tibetan opera performances at their doorstep.
Led by national representative inheritors and China masters of arts and crafts, dozens of training centers, training centers, artist homes, etc.
have been established based on different intangible cultural heritage projects, which have played a very good role in the exhibition, display, inheritance, dissemination, etc.
of heritage, and have a demonstration effect in the construction of cultural and ecological protection experimental zones.
The exploration and practice of the construction of the Regong Cultural and Ecological Protection Experimental Zone have enabled the general public in the Regong area to deeply feel the changes brought about by the construction of intangible cultural heritage protection and cultural and ecological protection zones, and have a sense of gain.
These all stem from the construction of the Regong Cultural and Ecological Reserve that fully respects the cultural tradition of "every household has a studio and everyone is a painter" in the Regong area and the strong traditional cultural atmosphere of ethnic minority people in the community who love Tibetan opera art.
They benefit from the positive and effective protection and restoration measures taken to this cultural ecology during the construction of the area.
Henan's Baofeng Rap Culture and Ecological Protection Experimental Zone has a deep foundation in rap art.
At the annual "Ma Street Book Fair", people of Guangdong and Guangdong spontaneously went to hear that singing and singing has become an important way of life."You can watch thousands of operas in one day, and read tens of thousands of books in three days.""Using the sky as the curtain and the earth as the platform" is a true portrayal of their lives.
It is precisely because of this strong social and cultural atmosphere and good cultural ecology that Baofeng's rap culture has lasted for a long time and shown strong vitality.
In recent years, the changes that have taken place through the protection and restoration of cultural ecology have not only been reflected in the Cultural Ecological Protection Experimental Zone, but also in other areas.
For example, in the Xizang Autonomous Region, Tibetan opera teams established by the people have developed rapidly, from more than 10 companies 10 years ago to 143 companies now.
On holidays, or when there are festive events such as wedding banquets, the common people invite the Tibetan opera team to perform, which has become a fashionable life in the local area.
This new demand of the general public has developed into a new social ecological and cultural space, creating a good atmosphere for the inheritance and dissemination of Tibetan opera art.
The local cultural authorities actively support various performance activities of Tibetan opera art., establish reward and incentive mechanisms, establish typical demonstration sites, adhere to the orientation of Tibetan opera art serving the people, and achieve good results.
In 2007, some scholars conducted a survey in the Inner Mongolia Autonomous Region, and at that time, there were basically no people who could sing long-tune folk songs.
Today, 10 years later, these situations have undergone qualitative changes.
In today's Inner Mongolia grassland, long-tune folk songs are indispensable during grand festivals and major events.
Representative inheritors of long-tune folk songs at all levels have become the protagonists of these activities.
Coupled with the strong support of local governments to the representative inheritors, many forms of long-tune competitions have been carried out, allowing long-tune folk songs to leave the Mongolian plateau and enter the international dance stage., making this "masterpiece of human intangible cultural heritage" more and more influential.
It is worth mentioning that the School of Art of Inner Mongolia University introduced long-tune folk songs, Humai, Matouqin, Sihu and other Mongolian traditional music into the school's music education system many years ago, recruiting students in the district and holding academic classes.
The school specially hired a group of well-known national representative inheritors of long-tune folk songs such as Badma to teach, teach skills to the students, explore an "academic" way to professionally cultivate national music and art talents, and achieve very good results.
The effect has contributed to the inheritance of intangible cultural heritage projects such as long-tune folk songs.
Nowadays, in Dacaoyuan, Inner Mongolia, the social and cultural ecology has undergone fundamental changes, and the ethnic cultural atmosphere has become increasingly strong.
Wearing national costumes, playing horse-headed qin, singing long tunes, and dancing national dances have become things that the grassland people are proud of.
The lifestyle of the Mongolian nation has moved from tradition to modernity, but the traditional culture of the nation has not declined or disappeared due to the acceptance of modern civilization.
On the contrary, the two have integrated with each other.
Tradition and modernity have found a convergence point here.
The national traditional culture is glowing with new vitality and sense of the times, which is a very gratifying achievement.
There are many such vivid cases in various places and cultural and ecological protection experimental areas.
All these changes fully demonstrate that after more than ten years of intangible cultural heritage protection, the cultural ecology in these areas has been better restored, and the social and cultural atmosphere has become increasingly strong.
At the same time, it also strongly proves the important role played by intangible cultural heritage protection and cultural ecological protection experimental area construction and important results achieved.
3.
Grasping the key point of "cultural characteristics" Cultural characteristics are the life and soul of the cultural and ecological protection experimental area.
The characteristics of a nation and a regional culture are formed over a long period of history and are deeply rooted in the soil of the nation."One side of water and soil nurtures one side, and one side creates one side of culture." This saying emphasizes the regional and national characteristics of culture.
The characteristics of culture are long-lasting and cannot be taken away by others and are difficult to learn.
Nowadays, all parts of the country are building culturally strong provinces, culturally strong cities, culturally strong counties, and even culturally strong towns.
In fact, culture is different from economic construction, and it is difficult to distinguish and compare the strengths and weaknesses.
Strong and weak are not durable, but only characteristics can be durable.
Cultural characteristics are actually a concentrated national character.
Cultural finished products with these connotations are filtered by each era to form high-quality products, accumulating the essence of each era, retaining the most concentrated national background, and marking them deeply.
The brand of regions and peoples.
It can be said that they belong to this region and unique to these nations, and become the souls of these nations.
The construction of cultural and ecological protection experimental zones must not only protect and maintain these cultures with distinctive regional and national characteristics to the greatest extent, but also strengthen and promote the characteristics of these cultures.
Characteristics are an important symbol that distinguishes different cultural and ecological protection zones.
A cultural and ecological reserve should be a specific area with distinctive cultural characteristics and rich cultural diversity.
It has a strong folk culture, unique material and intangible culture such as song and dance art, drama art, traditional crafts, traditional houses, and villages.
As well as a simple and harmonious social and cultural atmosphere, this is an important symbol that distinguishes a cultural and ecological reserve from ordinary areas and communities.
In the ideal cultural and ecological reserve, residents share the fruits of modern civilization while inheriting their own distinctive national culture.
To create a cultural ecology with a strong atmosphere, we still need to take characteristic culture as the entry point.
This feature must be based on traditional culture.
Based on culture, we must combine intangible cultural heritage with local old streets, traditional villages and people's normalized life to stimulate the vitality of intangible cultural heritage in the community.
Of course, the more important thing in the construction of cultural and ecological reserves is the participation of thousands of households.
The conscious participation of the general public is an important force in the construction of reserves.
Take the "National Gesar Cultural Goluo Ecological Protection Experimental Zone" as an example.
As the name suggests, it was established to protect the Gesar epic.
The Gesar epic culture is the most important cultural feature of the Cultural and Ecological Protection Experimental Zone.
Therefore, protecting and creating a good epic rap cultural ecology is the core work of the reserve.
Gesar rap artists are the soul of the epic, and living inheritance is the basic cultural characteristic of the Gesar epic.
The construction of the Gesar Ecological Reserve must always grasp this foundation, otherwise the reserve will lose its significance.
The protection and research of the Gesar epics in my country has gone through a process of more than half a century, and many excellent results have emerged in the research fields of collection, collation, recording, publication, translation, etc., in order to help people further understand the "Gesar", a "masterpiece of human intangible cultural heritage", has played an important role.
However, the endangered status of this heritage and the lack of successors have not changed, and the current situation is worrying.
An important reason during this period is that in the long-term research, the inheritance laws and root causes of this heritage have not been summarized, and effective protection measures have not been formulated.
In the research field of oral literature intangible cultural heritage projects, attention has been paid to text research for a long time, and the excavation, recording, sorting, research and publishing of the project have become the core work.
At present, there are not many targeted current status research and countermeasure research results in this field, especially the lack of strong theoretical guidance on the research and protection of the core issue of "inheritors".
Therefore, sometimes there are attempts at the national level to introduce protection measures, but they suffer from the lack of strong theoretical research support, and ultimately it is difficult to introduce targeted protection measures, making the inheritance and endangered status of these intangible cultural heritage projects not effectively curbed.
From the perspective of intangible cultural heritage protection, we should pay attention to the issue of "living inheritance" of heritage, which is the core idea of intangible cultural heritage protection.
Cecil Weiler believes that "intangible cultural heritage, as living heritage, originates in the past and is inherited today and in the future.
Intangible cultural heritage does not survive in archives, museums, libraries, or places of remembrance.
On the contrary, it only lives in the spiritual world of mankind."" To establish archives, or just to record the heritage before it disappears, it cannot be called protection.
Research that satisfies researchers 'scientific curiosity cannot be called protection unless it can directly contribute to consolidating the vitality of intangible cultural heritage."[4] Ensuring the vitality of intangible cultural heritage is the ultimate goal of intangible cultural heritage protection.
The words of this official of the UNESCO Intangible Cultural Heritage Division clearly and clearly explain the essence of intangible cultural heritage protection.
This important view is of great significance to my country's intangible cultural heritage protection and research work.
In the protection of intangible cultural heritage in recent years, the author has observed that some places have taken a series of measures to protect intangible cultural heritage items such as oral literature, which have played a positive role in the protection of heritage.
However, the effects of some practices still need to be further studied, such as transforming some rap artists into career staff and raising them.
The purpose of this practice is to enable these highly mobile folk artists to have a relatively stable job and a relatively fixed income, so as to achieve the purpose of protection.
However, during the investigation, it was found that this administrative management approach brought another problem, that is, they lost the degree of freedom and specific folk cultural atmosphere in folk life.
This is like an actor in his prime.
Suddenly losing the stage for his talents, his talents will be useless.
This is an issue that requires careful study.
For rap art intangible cultural heritage projects, we must deepen our understanding of their own laws, pay attention to the core issue of inheritors, and let them return to the people and be active in the people.
As the saying goes,"Live fish must also be seen in the water." After solving the stable work, we must also consider how to better display their talents and maximize their unique role.Actively explore protection methods suitable for epic and other rap cultural ecology, enhance adaptability and survival capabilities, create and cultivate cultural ecology, and build cultural ecological protection experimental areas such as Gesar into cultural and ecological protection experimental areas with more distinctive cultural characteristics and more vivid manifestations.
Ecological protection areas are the fundamental task of protected area construction.
4.
Deep integration of culture and tourism Tourism is an important way of life in today's human society.
The development of tourism occupies an increasingly important position in the national economies of countries around the world and has become a pillar industry in many countries.
Mature tourism culture also reflects the overall level and degree of development of a country and region's economic and social development.
Therefore, the development of tourism is also a realistic issue that cannot be avoided in the protection of intangible cultural heritage.
Our country's tourism industry has also experienced a development stage from the initial stage to becoming increasingly mature.
With the continuous development and in-depth advancement of my country's intangible cultural heritage protection in recent years, it has also promoted the development of tourism to a large extent.
The combination of intangible cultural heritage and tourism across the country, and the phenomenon that tourism uses rich intangible cultural heritage resources to develop projects under various names to attract tourists, expand influence, and accelerate development is very common.
Currently, from the central to local governments, especially at the management level, there is growing recognition of the important value and role of culture in tourism development.
This can be seen from the changes in some names in recent years.
For example, it is now widely used to change "tourism culture" into "cultural tourism" in terms of formulation.
The changes in these two words before and after are not only a matter of adjustment in order, but also reflect a deepening of our society's understanding of cultural tourism.
This year, the country merged the cultural and tourism management departments and established the "People's Republic of China Ministry of Culture and Tourism".
This is a major measure in my country's reform and development, indicating the close degree of culture and tourism in future social development.
The combination of culture and tourism is both a challenge and an opportunity.
With the continuous development of tourism in various places, people increasingly realize the value and significance of culture in the development of tourism, deeply feel that culture is the soul of tourism, tourism without cultural connotation is pale, empty and unsustainable, which is a very important conceptual change.
The construction of cultural and ecological protection experimental areas needs to be organically integrated with tourism development, focusing on the effective connection between intangible cultural heritage and tourism, and carrying out in-depth cooperation.
Give full play to the role of intangible cultural heritage in the development of cultural tourism, excavate the deep connotation and value of cultural heritage, and let tourists deeply feel the unique charm of regional culture and national culture in cultural and ecological experimental areas.
In recent years, China has carried out the "intangible cultural heritage research and training program" based on traditional crafts, which has greatly improved the quality of intangible cultural heritage products, and has made new progress in product diversification, quality, fashion and nationality, enriching the tourism cultural product market to a certain extent.
It can be seen that intangible cultural heritage products play an increasingly important role in cultural tourism.
The Dali area in Yunnan itself is a tourist attraction.
In recent years, the construction of the Dali Ethnic Cultural and Ecological Protection Experimental Zone has paid great attention to the integration of intangible cultural heritage and tourism, and has carried out a series of effective connections.
The intangible cultural heritage museums in the protection zone, training centers, exhibition and display bases, ethnic cultural districts, etc.
have all been well integrated with tourism and have become important tourist destinations.
Taking the national intangible cultural heritage productive protection demonstration base-Bai tie-dyeing as an example, a tie-dyeing history museum, tie-dyeing production process workshop, product display area, tourist experience area and interactive area, product sales area, etc., have been established at the base, providing one-stop services.
When tourists come here, they must first understand the history of tie-dyeing, see the tie-dyeing production process for themselves, know the product quality, and then they can participate in the experience production, communicate and cooperate, and finally buy the most satisfactory and suitable tie-dyeing products in the product shopping area.
This approach has achieved good social and economic benefits and is welcomed by tourists.
On Gulangyu Island in Xiamen, located in the Southern Fujian Cultural and Ecological Protection Experimental Zone, the performance of the "Line Raising Wood Puppet" opera is also popular with tourists.
It is worth mentioning that the scenic area has carefully studied the selection of performance venues and placed the performance site of the puppet show in the middle of the entire Gulangyu tourist route.
When tourists walk to the small theater where the puppet show is performed, they already feel a little tired and need to rest and adjust.
They are here to watch a puppet show.
They sip tea, enjoy the performance and rest.
The unique sense of form of the "puppet show", coupled with the artists 'superb skills and vivid performances, is loved by tourists.
Tourists spend a short period of time here and appreciate the traditional opera art and gain aesthetic pleasure.
It also plays a role in promoting and spreading local opera culture.
These methods are also worth promoting and learning from.
Tourists also need correct guidance.
Cultural tourism carried out in the Cultural and Ecological Protection Experimental Zone must fully respect national cultural traditions and national customs.
In order to attract tourists, we must not fabricate so-called low-interest, create nothing out of thin air, catch shadows or hunt for surprises.
Folk activities create "pseudo-folk customs".
We oppose the anti-seasonal performance of folk folk activities with a customary sacrificial nature.
This behavior not only makes traditional folk culture lose its solemnity and sanctity, but also makes the people lose their sense of awe, thus making excellent national culture vulgar and pan-entertaining.
As long as we adhere to the correct development concept, overcome the mentality of being eager for quick success and quick success, respect national culture, and follow the laws of intangible cultural heritage, the construction of intangible cultural heritage protection and cultural and ecological protection experimental zones and the development of tourism will surely achieve complementary results and complement each other.
In terms of the development of cultural tourism, we must also learn from Japan's practices.
Japan has some good practices in tourism and heritage protection.
For example, Takayama Prefecture in Japan is an area with profound traditional culture.
It still retains traditional ancient streets and houses, traditional folk customs, and a strong cultural atmosphere.
In the ancient district, there are various specialty shops, and some cultural products with the characteristics of traditional Japanese folk customs.
There are a wide range of products, from specialty foods to daily utensils.
Wood painting is an important intangible cultural heritage of Takayama Prefecture and has distinctive regional characteristics.
Local residents have developed a series of cultural tourism products with the colors, patterns and styles of woodprints as the main elements, with more than ten product varieties.
There are various pendants with strong decorative qualities; various practical dishes, plates, pen containers, phone case, etc.; products that simulate the images and body states of the twelve zodiac animals; in addition, there are various lacquer plates, jewelry boxes, bowls, chopsticks holders, mobile phone cases and other daily necessities developed with large lacquer.
The products are exquisite, exquisite, beautiful and practical, and are very popular among tourists.
These cultural products developed not only play the role of promoting local culture, but also increase the income of local residents and improve the quality of life.
Heritage property protection and modern social life are organically integrated here.
When tourists stroll and experience such an environment with rich folk customs and unique traditional architectural patterns, a sense of respect and awe for local culture also arises spontaneously.
The entire tourist area is in good order, well managed, and the streets are clean and the service is enthusiastic, reflecting high humanistic literacy and social moral awareness.
Such cultural tourism not only plays a role in promoting and disseminating cultural heritage, but will also greatly change the perception that tourism development has a negative impact on heritage protection.
In terms of standardized tourism management, meticulous and thoughtful service awareness, and cultural protection awareness, Japan's practical experience is worth our careful study and reference.
5.
Government leadership is still the main force in the construction of protected areas.
Given that the construction of cultural and ecological reserves is still in the experimental stage, many work, concepts and ideas are of an experimental nature of exploration and practice.
Some work still requires continuous research and summary in practice, and then implementation and advancement steadily.
Therefore, at this stage, the construction of cultural and ecological protection experimental areas, from macro management to policy grasp, from scientific planning to funding investment and planning implementation, The government still needs to play a leading role.
It is necessary to promote various protection work in accordance with the scientific planning of the ecological protection experimental zone; strengthen the supervision and evaluation of the planning implementation process; on this basis, the construction of the ecological protection experimental zone should play a positive role in reflecting people's livelihood.
Role, mobilize the enthusiasm of the general public to the greatest extent and give the people in the protected zone a sense of gain.
In the new era, in the construction of national-level cultural and ecological protection experimental zones, we should change the shortcomings of the previous ecological zone in terms of too large an area, high mutual coordination costs during construction, low construction efficiency, and weak operability.
Newly established Cultural and ecological protection zones need to strengthen their accuracy and should focus on the overall protection of major group inheritance projects with distinctive regional cultural characteristics and strong atmosphere.
The newly established "Rap Culture Baofeng Ecological Protection Experimental Zone" and "Gesar Culture Guoluo Ecological Protection Experimental Zone" highlight the protection of regional rap art, an important cultural form and cultural ecology.
This is another new attempt and exploration in the construction of cultural ecological protection experimental zones.
In the future construction of cultural ecological protection zones, the protection of cultural types and specific regional cultures should also be strengthened.
For example, cultural and ecological protection zones will be established for areas with rich traditional opera cultural resources, strong atmosphere, and distinctive characteristics for overall protection; for areas with concentrated traditional handicraft projects, strong atmosphere, distinctive characteristics, and relatively good ecological protection, cultural and ecological protection will be established.
Ecological protection zones will be provided for overall protection; cultural and ecological protection zones will be established for areas where the characteristic cultures and nomadic cultural types of ethnic groups with small populations in our country are relatively intact.
The construction of cultural and ecological reserves will surely play a positive and important role in protecting the richness of my country's intangible cultural heritage and the diversity of human culture.
References: [1] Li Shuwen, et al.
Legal Guide to Intangible Cultural Heritage [M].
Beijing: Law Press, 2011.[2] Department of Intangible Cultural Heritage of the Ministry of Culture.
Exploration and Practice--Data Collection of On-site Exchange Meeting and Expert Forum on the Construction of National Cultural and Ecological Reserves [G].
Beijing: Culture and Art Press, 2011:75 - 76.[3] Ma Shengde.
Intangible Cultural Heritage Protection at a New Starting Point [N].
China Culture News, 2017 - 10 - 25.[4] Cecil Duville.
Speech by former Director of the Intangible Cultural Heritage at the 3rd China Chengdu Intangible Cultural Heritage Festival International Forum [G]//Chengdu Cultural Bureau.
The 3rd China Chengdu International Intangible Cultural Heritage Festival International Forum.
Chengdu: Chengdu Times Press, 2011:120 - 121.
* The original text is contained in Volume 38, No.
4 of the Journal of South-South University for Nationalities Humanities and Social Sciences Edition).