[Liu Daxian] The glorious drama of "intangible cultural heritage": the pride of the inheritors is staged

Website photo location Photo by Wang Donghui at the opening ceremony of the China Intangible Cultural Heritage Traditional Skills Exhibition

Wood building construction skills: Photo by Wang Donghui, the Dong "Luohan Building"

February 9 is the Lantern Festival, and the Exhibition of Traditional Skills of China Intangible Cultural Heritage kicked off at the Beijing Agricultural Exhibition Hall.

This is a brilliant drama-the Allegro plays, the melodious huqin, the loud gongs and drums sound...

The inheritors of intangible cultural heritage slowly make their appearance amidst the audience's amazement.

Since the beginning of the 21st century, the party and the country have attached great importance to the protection of "intangible cultural heritage".

This exhibition has demonstrated the phased results of this work to a certain extent.

This newspaper specially launches the "Special Issue of the" Intangible Cultural Heritage "Exhibition, which directly hits the exhibition site and invites relevant experts and scholars to discuss the academic theme of the exhibition: productive protection of cultural heritage.

They carry the ancient charm and wind in the river of time, making them enchanting; they carry the spirit of their ancestors, dance in the dust of history, swaying in their appearance; they absorb today's nourishment and toss around the city and the countryside.

In the two-way interaction, the clouds are steaming and beautiful.

In today's social theater, their names are called "Intangible Cultural Heritage".

They are lucky, because of various opportunities, traditional skills are given an invisible crown from remote corners, or suddenly shrouded in dazzling light in the unknown darkness.

So they walked to the center of the stage and surprised the audience.

On countless country roads, countless songs are sung for them, and countless flowers bloom for them.

After bidding farewell to thousands of years of old dreams, they have gained a grand name in a new era.

This is a brilliant drama.

Allegro plays, melodious huqin, loud gongs and drums, and the protagonist comes on stage.

Bang! An appearance, inheritors and intangible cultural heritage, with their pride, allows the audience to observe the perfect beginning of new art in the new era.

This play is like a beam of light that illuminates some characters and their skills.

On the back of the stage, there are countless directors, screenwriters, artists, and pitists of this play who are working hard for this play and are on the stage.

The legacy and inheritors are just one component of this huge social and cultural network.

In terms of origin, intangible cultural heritage, as an objective reality, is originally a variety of skills, customs, and rituals that have been endless in the evolution and reproduction of history, either attached to specific objects and matters, or just buried in practice.

foreshadowing.

Sometimes, they seem to be as thin as a wool, and their lives are hanging on by a thread.

However, after all, they cannot survive the world and stumble above the times.

We know that this is where the soul of a community is concentrated.

It reminds people that we can only look at the ocean and sigh., and make judgments, because empty words cannot penetrate the secrets of the soul, and dry reason cannot illuminate the vastness of existence.

These self-contained and self-contained things now stand out from the simple folk, dubbed "intangible cultural heritage", and have leapt into a higher form of cognition that appeals to situations that have not been faced before.

From the late Qing Dynasty to the present, more than 100 years of Western modernity movements and ideological trends have caused several generations of China to doubt thousands of years of China's cultural traditions.

In the so-called "debate between China and the West, ancient and modern times," the differences between "China and the West" have actually been transformed into the differences between "ancient and modern times." The consequences cannot be summarized in a single word.

However, on the whole, there is a scene of buying goods and returning pearls in terms of cultural concepts: "Abandoning your own endless treasures and following the door to serve the poor."

Modernity is one-sided in the context of China in the 20th century.

If we say that in the early process of pursuing the independence of the nation-state, we adopted a forced integration of marginal cultures; In the later discourse of economic supremacy, excessive emphasis on linear development further brought about the dominance of categories and values such as rationalization, standardization, interests, speed and efficiency, making it possible to form a simple fast-food reconstruction and copying of the tradition, unilaterally pursuing quantity and utilitarian effects.

Among the modern main bodies of the "Chinese nation", more "small traditions" full of vitality and connotation show their oppressive destiny.

In this sense, the publicity of intangible cultural heritage allows a certain ethnic and folk cultural tradition to sweep away the dust of the spider nets that have been covered for a long time.

It can be regarded as a kind of cultural consciousness and cultural prosperity in the open era.

If we look at the historical concept of "stimulus-response", this seems to be another new round of response to the concept of Western arrival.

Because as early as 1972, UNESCO adopted the Convention for the Protection of the World Cultural and Natural Heritage in Paris, and launched the "Representative Works of the Oral and Intangible Heritage of Humanity" program in 1998.

China's top-down cultural policy changes cannot be said to be related to the inclusion of Kunqu Opera in the "Representative of the Oral and Intangible Heritage of Humanity" in 2001.

However, there are differences.

This is rather a global cultural awakening: recognition of diversity, recognition of the few, and common emotion for the overall cultural destiny of mankind.

Intangible cultural heritage belongs to a kind of "cultural capital" in the broad sense, which can be transformed into a new type of "soft power" in international politics under appropriate operation.

In the discourse context of cultural pluralism, it has gained legitimacy.

Proof, but this does not guarantee that it will succeed when it is transformed into social capital and economic capital.

If you attempt to rely on market mechanisms to allocate and utilize intangible cultural heritage, it is obviously short-sighted.

This is a consensus that goes without saying.

However, the problem is that real economic interests may be the driving force behind commercial mechanisms and local governments.

Apart from this, the protection and development of intangible cultural heritage cannot be discussed solely by intellectuals and the public.

Therefore, in many cases, the promotion and protection of intangible cultural heritage has become the balance finally reached after the forces of all parties compete and compromise with each other: in economic activities, rational subjects always pursue the maximization of their respective interests, and when they have no choice, they can only seek the best permutations and combinations.

"Traditional culture" has never been stereotyped, but more worried scholars will accuse commercialization or politicization of causing harm to the "original ecology".

In fact, this is an elitist attitude, or it is a "static","objectification" and "materialization" attitude towards it.

Real folk traditions have never been so worried.

In fact, more often than not, it is a daily life, which is only made a self-made activity by officials or talents with various purposes.

Once power is brought in, it will inevitably have effects, and traditions will be refreshed.

Such a realistic tradition is truly meaningful to the current people-that is, what Nietzsche called "effect history." Tradition always acts on the present, and the present always creates new traditions in tradition.

For the "traditional revival" in the early years of the new century,"intangible cultural heritage" has become an all-encompassing basket for some time, and cost and profit are used as the criteria to measure whether or not to enter this grammatical system.

This may determine the fate of a certain tradition: the inside and outside of the "basket" are different, making the "intangible cultural heritage" a complicated place.

The construction of new countryside and the protection of old heritage constitute one of the inherent tensions of cultural drama of our times, and in more cases we see a kind of cultural "uprooting" behavior.

For example, the excessive tourism development of ancient villages and the mechanical reproduction of some handicraft projects have interrupted the certain human civilization represented by these projects and the process of growth of this civilization due to "protection".

In order to serve the purpose of tourism development, the original songs and dances were transformed according to popular fashion tastes; handicrafts were in jeopardy; and the ancient village was built into a bustling downtown area.

Beneath the surface of prosperity, it is actually a kind of harm.

World heritage itself must have two basic factors: one is authenticity, that is, the heritage must be original, unique, rather than artificial; the other is integrity, that is, the heritage and its surrounding cultural and geographical environment should coexist harmoniously.

However, those artificial efforts or disorderly development will undoubtedly make the heritage lose its true value of publicity and integrity.

Many excellent inheritances and developments have been developed over a long period of time, step by step, and through oral teaching by example over generations.

A certain phased planning will have a temporary sensational effect, and its long-term impact may not only cause the public value of historical and cultural heritage to be damaged, but also bring serious negative effects to long-term sustainable development.

It can be said that because of the government's advocacy, social attention to intangible cultural heritage is brought to joy; various forces in society may bring a certain degree of chaos, and even under the Matthew effect, they work together to focus on a few specific matters and ignore the overall concern, making those who are truly devoted to cultural heritage sigh and worry about who will go home.

Consumption of intangible cultural heritage is not a bad thing as some people reject it.

On the contrary, it reflects the flexible response of a certain cultural tradition in a specific era and is also the proper meaning of traditional poverty and transformation.

But there is no doubt that in specific operations, the executor needs a long-term vision and an open mind.

The "productive protection" advocated now can be said to be the best choice after a compromise.

We have already initially seen a path of "government guidance-commercial operation-media intervention-scholars participation-public practice".

Gradually explore and explore, and face opportunities and challenges in response to reality, economic changes, and poverty and innovation.

I hope this is a good start to find a way out.

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Shanxi Wenxi Huamou at the "Intangible Cultural Heritage" exhibition is made of flour.

Photo by Wang Donghui

Intangible Cultural Heritage

According to Article 2 of the United Nations Convention for the Protection of Intangible Cultural Heritage: "Intangible cultural heritage"(hereinafter referred to as "intangible cultural heritage ") refers to various practices that are regarded as part of their cultural heritage by various groups, groups, and sometimes individuals., performances, forms of expression, knowledge, skills, and related tools, objects, handicrafts and cultural venues.

As their environment, interaction with nature and historical conditions change, various groups and groups continue to reproduce this intangible cultural heritage passed down from generation to generation, while giving themselves a sense of identity and history, thereby promoting cultural diversity and human creativity.

"Intangible cultural heritage" includes the following aspects: 1.

Oral traditions and manifestations, including language as a medium of intangible cultural heritage; 2.

Performing arts; 3.

Social customs, rituals, and festivals; 4.

Knowledge and practice related to nature and the universe; 5.

Traditional handicrafts.

UNESCO's protection of "intangible cultural heritage"

The General Conference of UNESCO held its 17th session in Paris, France from October 17 to November 21, 1972, noting the increasing threat of destruction of cultural and natural heritage, considering that the loss of any cultural or natural heritage has the harmful effect of exhausting heritage around the world, and considering that the protection of such heritage at the national level is often incomplete because it requires a large number of protection methods, However, the country where the heritage listed as the object of protection is located does not have sufficient economic, scientific and technological strength.

Recalling that the Organization's Organic Law stipulates that the Convention for the Protection of the World Cultural and Natural Heritage was adopted on November 16, 1972.

United Nations Educational, Scientific and Cultural Organization (hereinafter referred to as "UNESCO ") The General Conference held its 32nd session in Paris, France from September 29 to October 17, 2003.

With reference to international human rights instruments, especially the 1948 Universal Declaration of Human Rights and the 1966 International Covenant on Economic, Social and Cultural Rights and the International Covenant on Civil and Political Rights, taking into account the 1989 Recommendation for the Protection of Folk Works, The 2001 UNESCO Universal Declaration on Cultural Diversity and the Istanbul Declaration adopted by the Third Roundtable of Ministers of Culture in 2002 adopted the Convention for the Protection of Intangible Cultural Heritage on October 17, 2003.

Representative works of human oral and intangible heritage

Since 2001, UNESCO has launched the application for a list of representative works of oral and intangible heritage of mankind, which is selected every two years.

So far, China has selected four projects including Kunqu Opera Art, Guqin Art, Xinjiang Uyghur Muqam Art, and Mongolian long-tune folk songs jointly declared with Mongolia, making it one of the countries with the most selected projects.

China government's protection measures for "intangible cultural heritage"

Entering the 21st century, with the attention and support of the party and government, the protection of intangible cultural heritage in China has been carried out scientifically, comprehensively and systematically.

On June 26, 2004, President Hu Jintao pointed out in his "Message to the 28th Session of the UNESCO World Heritage Committee":"The China government attaches great importance to the protection of cultural and natural heritage and will continue to promote the excellent culture of the Chinese nation, protect the ecological environment, expand international cooperation, ensure the full protection and appropriate utilization of cultural and natural heritage, and further promote the harmonious development of man and nature." On October 15, 2007, General Secretary Hu Jintao clearly proposed in his report to the 17th National Congress of the Communist Party of China that "promote Chinese culture and build a shared spiritual home for the Chinese nation", emphasizing the need to "strengthen the excavation and protection of the cultures of all ethnic groups, and attach importance to cultural relics and Intangible cultural heritage protection."

On February 15, 2004, the State Council issued the "Notice of the General Office of the State Council on Transmitting the Opinions of the Ministry of Culture, the Ministry of Construction, the Bureau of Cultural Relics and other departments on Strengthening the Protection and Management of World Cultural Heritage in my Country." Emphasis is placed on increasing efforts to comprehensively promote the protection and management of world cultural heritage.

On April 8 of the same year, the Ministry of Culture and the Ministry of Finance jointly issued the "Notice on Implementing the Protection Project of China Ethnic Folk Culture."

On August 28, 2004, the Standing Committee of the National People's Congress issued a decision on ratifying the Convention for the Protection of Intangible Cultural Heritage.

In March 2005, the "Opinions of the General Office of the State Council on Strengthening the Protection of Intangible Cultural Heritage in my Country" was issued.

In December of the same year, the "Notice of the State Council on Strengthening the Protection of Cultural Heritage" was promulgated, giving clear instructions on the goals, principles and measures to further strengthen the protection of intangible cultural heritage in China, and established an inter-ministerial joint meeting system for the protection of intangible cultural heritage in China to unify and coordinate the protection of intangible cultural heritage across the country.

In 2006, the "Interim Measures for the Protection and Management of National Intangible Cultural Heritage" was reviewed and approved by the Ministry of Culture, was promulgated, and will come into effect on December 1, 2006.

On May 14, 2008, the Ministry of Culture announced that the "Interim Measures for the Identification and Management of Representative Inheritors of National Intangible Cultural Heritage Projects" had been reviewed and approved by the Ministry of Culture on May 14, 2008, and will come into effect from June 14, 2008.

National "Intangible Cultural Heritage" List

On May 20, 2006, the State Council announced the first batch of national-level intangible cultural heritage lists and approved the first batch of national-level intangible cultural heritage lists determined by the Ministry of Culture, totaling 518 items.

On June 7, 2008, the State Council announced the second batch of national-level intangible cultural heritage lists and approved the second batch of national-level intangible cultural heritage lists determined by the Ministry of Culture, totaling 510 items.At the same time, the first batch of national-level intangible cultural heritage expansion project lists were approved, with a total of 147 items.

Representative inheritors of national-level "intangible cultural heritage" projects

In June 2007, the Ministry of Culture announced the list of 226 representative inheritors of the first batch of national-level intangible cultural heritage projects, covering five categories: folk literature, acrobatics and competition, folk art, traditional handicrafts, and traditional medicine.

In February 2008, the Ministry of Culture announced the second batch of representative inheritors of national-level intangible cultural heritage projects, with 551 people on the list in five categories: folk music, folk dance, traditional drama, folk art, and folk customs.

China Cultural Heritage Day

In 2007, the State Council issued the "Notice on Strengthening the Protection of Cultural Heritage" and decided to designate the second Saturday of June every year as "China Cultural Heritage Day" starting from 2007.

So far, my country already has Cultural Heritage Days, Cultural Heritage Signs and Cultural Heritage Protection Public Welfare Songs, which have played a very positive role in enhancing the awareness of cultural heritage protection among all people.

Symbol of China's cultural heritage

The top of the sign is in simplified Chinese "China Cultural Heritage"; the bottom is in Chinese Pinyin ".

All ethnic autonomous areas can use local minority languages, and English" CHINA CULTURAL HERITAGE "or other national languages can be used in foreign exchanges.

The standard color of China's cultural heritage symbols is gold, and other colors can be used according to different needs.

The gold-decorated cultural relic pattern at the core of China's cultural heritage symbols can also be used alone in addition to being used with words.

The symbol of China's cultural heritage uses gold ornaments unearthed from the Jinsha Site in Chengdu, Sichuan.

Some experts named it "Sun Bird" or "Four Birds Around the Sun."