[Gao Bingzhong] Intangible cultural heritage as public culture
[Abstract] Based on establishing the conceptual connection between intangible cultural heritage and public culture, this paper reviews the changing process of the relationship between traditional cultural forms of daily life and public culture from identity to exclusion and then to integration.
It particularly discusses the social naming of heritage as a mechanism and problems for intangible culture to become public culture, and looks forward to the broader prospects of the nation's inherent intangible culture in the future composition of national public culture.
"Intangible culture" is associated with specific people due to living inheritance, and "intangible cultural heritage" is associated with the relationship between inheritors and represented persons, small groups and large communities due to the identification of heritage.
These two connections constitute a social mechanism that jointly creates the daily experience of the community's historical continuity, thereby forming the most economical and sustainable way to participate in the self-identification of the community and the reproduction of social culture.
This is the main reason why intangible cultural heritage protection has become a cultural movement in various societies around the world in recent years.
Looking carefully at the above two major connections, we notice a very critical and interesting phenomenon, which is the difference in attributes and number range between inheritors and those represented.
In other words, intangible culture is carried by "modern" private individuals, but intangible cultural heritage is the public culture of the community, and its transformation mechanisms and social processes are very important research topics.
This article follows this approach by introducing the concept of "public culture" and attempts to increase the understanding of the many issues involved in the Intangible Cultural Heritage Protection Movement.
a
"Intangible cultural heritage" is a new concept determined by UNESCO around 2000 to promote it to the world, although the "intangible cultural property" related to it has been used in Japan for decades.
This concept has been embedded in the Chinese world in just a few years and is extending from a small scale to the whole society, even at the grassroots level.
We saw in China that first, a few experts were commissioned by the Ministry of Culture to try to match China's cultural affairs according to this UNESCO concept.
When China's Kunqu Opera Art 2001), Guqin Art 2003), Xinjiang Uyghur Twelve Muqam, and Mongolian Long-tune Folk Songs 2005) were successively declared by UNESCO as "Representative Works of Human Oral and Intangible Heritage." This concept continues to attract widespread attention in China's news media and cultural sectors.
If these cultural events and media events are just waves in a teapot, staying on a small scale and on the surface, then two other major events that are connected with them quickly prove that this concept has national and national mobilization power.
One is the Movement to Defend the Dragon Boat Festival launched in Yueyang, Hunan Province in 2005 and the support of the people of the whole country ①.
The other is the first "national-level" intangible cultural heritage representative list launched in 2005 by China and launched at the end of 2007 ②.
Application and selection of the representative list of intangible cultural heritage.
Although "intangible cultural heritage" is a recently popular concept, it has been embedded in our language, included in the country's agenda, and has become an object of interest games and a hot spot for ideological confrontation.
Still, it is a concept that is less easy to say, less clear to sound, and more difficult to operate.
In order to straighten out and understand this concept and the practical issues involved, everyone urgently held meetings ③, but complex thinking could not be carried out at the meeting.
Scholars have also repeatedly looked forward to the academic discussions at the meeting ④.
I think that if we want a new concept to be easy to understand and communicate effectively, the feasible way is to incorporate it into a certain conceptual pedigree and recognize its position in a series of concepts.
For example, although "intangible cultural heritage" broke into the Chinese world with a strange name, it actually has many close relatives and distant relatives in the society we are familiar with.
From the perspective of the factors that created it, we should list "modernity" and "globalization"; from the perspective of its origin, we should list "authenticity" and "identity"; from the perspective of the cultural phenomena it involves, the various inheritance genres covered by "folk custom","tradition" and "belief" all require us to clarify the relationship with it.
It is impossible for me to sort out its complete conceptual pedigree in this article, but I just want to clarify some connections between it and the concept of "public culture", so that some attributes of "intangible cultural heritage" can be clarified and "China Intangible Cultural Heritage" The origin and origin of "Intangible Cultural Heritage" has been clarified.
If possible, this research is only a basic work for sorting out relevant knowledge pedigree in the future.① At least from the Internet, it seems that the support comes from the "people of the whole country".② In order to participate in the first selection in 2005, more than 1000 application projects were submitted by provinces and cities, of which 518 were recognized as national intangible cultural heritage in 2006.) By the selection of the second national-level projects in 2007, the number of projects submitted by provinces and cities increased to 2356.③ In 2007 alone, the author participated in four intergovernmental committees and international academic conferences with the theme of "Intangible Cultural Heritage" organized or supported by UNESCO, and the number of similar domestic conferences I participated in was more.④ See He Xuejun's summary of the living, folk, living and ecological nature of intangible cultural heritage He Xuejun: "Theoretical Thoughts on the Protection of Intangible Cultural Heritage", published in "Jiangxi Social Science", No.
2) ; Liu Kuili's dialectical discussion of it around the categories of foreign culture and inherent traditions, identity culture and consumer culture, national attributes and human sharing Liu Kuili: "Some Theoretical Reflections on the Protection of Intangible Cultural Heritage", published in "Folk Culture Forum", No.
4;"Intangible Cultural Heritage from the Perspective of Human Essence", published in "Jiangxi Social Science", No.
1, 2005) )
Different from the cultural styles that have been written into classics), tangible buildings, and utensils), intangible culture is living and carried by human life activities.
Let's talk about the story of the sweater woman in the Tang Dynasty literature, which has nothing to do with intangible culture; let's talk about the popular custom of begging for cleverness in Xihe County, Gansu and Neiqiu County, Hebei, and the related legends of the Seven Fairy Fairies.
This is intangible culture.
When we observe the folk houses in Dali, this does not involve intangible culture; when we observe the process and craftsmanship of the Bai carpenters in Dali, we study intangible culture.
Unlike the culture referred to by other concepts, intangible culture cannot be separated from its own inheritors.
Cultural expression?? Only when it is taught by words and deeds, and accepted by words and hearts can it be defined as intangible culture.
Obviously, when a specific intangible culture becomes a topic, it is when a specific person becomes a topic.
It is precisely the importance and elucidation of the coexistence of living culture and living people that may bring different opportunities to academia.
We have noticed that the understanding of this important attribute has provided a basis for the key protection of inheritors in the practice of intangible cultural heritage protection, but in theory, it is still necessary to deepen our understanding of this attribute.
When talking about "intangible culture", we particularly emphasize the issue of "inheritors" in order to enter the issue of "human relations" when we talk about "intangible cultural heritage".
"Intangible cultural heritage" involves such a relationship: a smaller range of specific people or groups of people directly plays the role of inheritance, while the representative range of "heritage" is a collective and large number of people.
This is often the relationship between "small groups" and "the masses", and the relationship between small places and large social countries.
It is said that the seven-day Qixi Qixi begging ceremony activities are still popular in the Qiuchi Mountains adjacent to Xihe County and Li County in Gansu Province.
This points out the existence of an intangible culture.
The area involved in the topic can be just the local area, and the people involved can be just the women who formed an association to hold the ceremony.
However, in the topic of "heritage", it is the county government or its affiliated institution, the County Cultural Center, who claims that it is China's intangible cultural heritage.
If this claim is confirmed by the National Expert Committee on the Protection of Intangible Cultural Heritage, the Ministerial Joint Conference and the State Council, it will officially become a representative work of China's intangible cultural heritage.
As a result, local) individual activities completed the transformation into national) public culture, involving parties or stakeholders with multiple identities, manifested in the complex relationship between applicants (county governments), inheritors (women holding ceremonial activities), judges (academic and political authority) and represented (China, China).
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The process by which intangible culture becomes heritage, or simply, the process by which it is named heritage, is a mechanism for generating public culture.
"Intangible culture" is a concept that expresses a state of freedom, but only expresses the existence of a special style of culture;"Intangible cultural heritage" is a concept that reflects the process of cultural consciousness, indicating that a special style of culture has completed rights claims, value assessments, and social naming procedures and become public culture.
If intangible cultural projects are to be transformed into "heritage", it is necessary to clarify the owner and whose heritage it belongs to.
For property that is a physical object and general intellectual property rights, the owner usually has exclusive ownership and usufruct rights: if A owns the house, B cannot have it at the same time; if A eats a steamed bun to satisfy his hunger, B cannot use it to satisfy his hunger at the same time; Rowling is the author of "Harry? The author of Potter thus enjoys copyright benefits, and others can no longer claim the same rights.
However, intangible cultural projects can produce very different claims, the most prominent of which is the compatibility of ownership and usufruct rights: the Qixi Festival ceremony held by women in Qiuchi Mountains is certainly their ceremony, but they do not exclude counties, provinces, and countries from claiming that it is their ceremony; what's more interesting is that the ceremony is more valuable because of the fact that a larger range of subjects also owns it.
The inherent publicity of culture gives cultural projects endless impulse to spread and share.
Intangible culture usually has no creator to testify and has no initial copyright restriction, making it more convenient for multiple subjects to participate in the game of rights claims.
It is this characteristic that enables intangible culture to attract all forces in society to have the enthusiasm to participate in the social movement for the protection of intangible cultural heritage.
It is also because of the role of this characteristic that some contradictions between multiple subjects in protection practice are inevitable.
To become a legacy is to become something of special value, and the determination of the existence and level of value is a process evaluated by professionals.
Certain forms of expression in real life are defined and become cultural projects that can be classified into a specific category or genre.
This is the product of a professional activity, either done by scholars from branches of folklore, anthropology, and art, or by grassroots cultural workers.
After being identified from the complex collection of life, this cultural project will be claimed to have certain value, and whether its value proposition is valid or not will be determined by a specific review process.
The criteria for review are often mixed, such as cultural originality, outstanding skills, group representativeness, scarcity of existence, and political correctness.
Then, the weights of different standards and the structure of combination standards will affect the evaluation conclusions.
For example, if a project in Fujian has some historical and cultural connection with Taiwan, the value of this connection will be weighted based on national interests.
During the review work, we saw that the weight and structure of the standards were changing in different years.
It can be seen that if the intangible culture "held" by individuals or individual groups wants to become the public culture of the country, it must pass a very realistic value evaluation.
Intangible cultural projects being declared as "heritage" is actually a social name.
The so-called "social naming" is to announce a name to the society in a form or procedure, so that the name can be included in a specific category and is well known to the public.
In essence, it is to position a thing in society.
Any name is known to a certain range of people, and may continue to be known to a wider range of people.
In this case, some names are widely known to the public, which is accidental and gradually cumulative.
However, the ritual of social naming took place in a short period of time, and the relevant characters took on a new meaning before and after the name was announced.
Therefore, social naming is a link that plays the role of turning stone into gold.
In fact, social naming has the nature of secondary naming, although formally the words used in social naming may be original, modified or completely new.
Cultural projects usually already have their own names in the state of being enjoyed by their holders, such as "singing the sour song","five sentences","embroidery","Mazu Club" or "Mazu Birthday".
However, when they enter a national heritage list, their language form must be transformed into words suitable for differentiation, and their content must be polished away from those edges and corners that violate current taboos that violate ideology.
There are many folk songs singing sentimental lyrics and lyrics, and many people use five sentences and seven words.
Embroidery skills are also found in various places.
Then, when the corresponding projects were announced, they became "Xingshan Folk Songs","Hequ Folk Songs","Su Embroidery","Guangdong Embroidery" and so on.
During the first review period, words such as "temple fair" and "God's Birthday" were still unacceptable in the review and naming process, and the Mazu God's Birthday Temple Fair was adjusted to be announced under the name of "Mazu Sacrifice".① See Taylor's "Primitive Culture", translated by Lian Shusheng, Shanghai Literature and Art Publishing House, 1992.② Cf.
Richard Porson， Peasant Customs and Savage Myths， The Universify of Chicago Press， 1968， p.
219.)
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Culture is public, but not everyone's culture is public culture, and not all culture is public culture.
It is a fact that culture is public, which means that culture is shared by a certain group of people).
At the same time, this specific culture has the tendency, potential and even impulse to become a community.
This is the possibility.
It is precisely this possibility that culture is not like those private things because the more people they possess, the less everyone has.
On the contrary, it will be more valuable and respected because the more people they enjoy.
However, the publicity of culture is actually limited by society and social relations.
So culture is not always completely public or completely open in real situations.
Sometimes it is the cultural holders who are unwilling to make their own specific culture open or open to all people.
Sometimes it is a group or its representatives that does not allow others 'culture to become their own group's public culture.
Culture has public nature, but if culture wants to become public culture, it often requires complex social games, even ideological, political and even class struggles.
In China, the entry or exit of cultural projects into public culture has been the main plot of cultural and social history in modern times.
Intangible cultural heritage has different meanings to public culture in different countries.At present, China's intangible cultural heritage movement is an important aspect of China society's reconstruction of its own public culture.
Its importance can only be properly understood if it is placed in the historical process of modern times.
We believe that the evolution of public culture in China in modern times and the encounter of intangible culture are two sides of the same process.
Intangible culture is living culture, that is, the culture carried by lifestyle.
Intangible culture is linked to daily life.
They are the parts of daily life that scholars discover and express, and they are selected because they fit into a specific genre or cultural form.
The public culture of traditional society is the common content of ordinary people's daily life.
However, the combination of Western learning introduced in modern times and social transformation projects has redefined a wide range of public culture in daily life, strived to deny their value as normal and legitimate public culture, and gradually established the status of modern school education and the culture spread by mass media as a new public culture.
Among them, the learning and political operations around "folk customs" can explain this social mechanism.
This is an early statement of the academic division of labor between material heritage and intangible heritage.
After Western folklore was transplanted to China, China scholars began to discover and define "intangible relics" in China society.
However, the purpose of their investigation and research and the social consequences of knowledge production were very different from those in the West.
If folk customs are the expression of daily life in traditional society, then China folk customs were almost the daily life of China people in the first decade of the 20th century, because daily life in modern industrialized cities was not extensive at this time.
If in 1918, teachers and students at Peking University began to collect ballads and publish them in the school journal as a symbol of the beginning of folk research in China, what was classified as "folk customs" at that time was not the cultural relics of the past that had lost its original functions, but an organic part of people's real life.
From folk beliefs, festivals, rituals of passage of personal life, to lifestyle and oral literature, what people see is not a relic form of culture, but a complete form and normal state of culture.
Therefore, at that time, the concept of "legacy" was used to examine and frame China society using the modern time standard represented by the West.
Judging from the modern standpoint of the West, China's culture belongs to the past in nature, although it actually functions relatively completely in the present.
Internally, it will take some time for China people's daily life to degenerate into folk customs as a whole, especially for the advent of the revolutionary movement.
In the years that followed, various scholars in China's social sciences had not yet formed professional folklore at that time), such as Lu Xun, Zhou Zuoren, Chen Duxiu, Hu Shi, Gu Jiegang, Zhong Jingwen, etc., discovered "folk customs" or various genres and works of folk customs in China, forming the concept of "Chinese folk customs" and creating the concept of Chinese folk customs represented by traditional and backward agriculture, rural areas and farmers in the field of public knowledge.
This kind of knowledge production about folk customs with the concept of "legacy" as its core has created a social consequence together with other factors: social divisions and value classification of daily life, which has initiated the modern reconstruction of public culture in China society.
When the originally common and public way of daily life was transformed into backward folk customs recognized by authorities, the population who received more modern school education and was able to work for modern departments of the country gradually separated from identification with the so-called backward folk customs and learned to live or imagine living in a daily reality defined as "modern life." Modern intellectual discourse and politics have made it a consensus that "folk customs are the way of life of farmers at the lower and marginal levels of society." Even farmers themselves accept this statement and, if possible, want to get rid of folk customs as soon as possible and prove that they have entered the modern era.
With the development of modernization in China, more and more people in the population can have direct contact with indicators of modernity living in cities, receiving more modern education, and being directly employed by government departments or state-owned and state-owned institutions.
Their imagination of modernity is becoming more and more reality or has more reality.
As a result of this social process, the original daily life gradually lost its universality and legitimacy for continued existence.
It was excluded from formal places and public spheres by previous political movements, and retreated to relatively weak control of public power and national ideology.
Marginal areas and marginalized groups finally truly became veritable cultural relics in social life ①.
Such a process is the process in which public culture in the traditional era lost its existing status.
However, history is not necessarily ruthless.
The common daily lifestyle of China has become a folk custom and then a relic.
However, before entering the tomb of history, it has gone through a historical turning point.
Under the intersection of China's domestic reform and opening up and the postmodern turn of international thought and academia, forms or elements of traditional lifestyles first spontaneously revived among the people, and then became candidates for the country's public culture again.
The movement for the protection of intangible cultural heritage comes at the right time.
If this grand UNESCO project was promoted in the 1970s, China would not have the political atmosphere and social conditions to participate.
In the past three decades, the remnants of traditional lifestyles have gradually returned from hidden texts to the group life of ordinary people, constituting a folk version of "cultural rejuvenation", or summarized as "folk rejuvenation" ②.
The English word "survival" is a concept established by Taylor as its key academic status.
It is often translated as "legacy" in modern Chinese scholarship.
In the third chapter of Primitive Culture, 1871, Taylor used the concept of cultural relics to link the beliefs and behaviors of barbarians with the folk customs of farmers in modern society, believing that various types of folk customs are remnants of primitive culture preserved in modern society ①.
Andrew? Dr.
Andrew Lang inherited Taylor's legacy theory and distinguished the relics that were academic objects into "material relics" and "intangible relics" in his 1884 "Custom and Myth"(Custom and Myth), classifying the former as the object of archaeology and the latter as the object of folklore ②).
At the same time, industries such as tourism, cultural industries, and creative economy that use folk living culture as resources have also risen strongly, intertwined with the involvement of cultural undertakings that focus on long-term public interests such as values, identity, and collective consciousness in these native or local cultures.
As a result, the selection, evaluation, and naming of folk culture in the protection of intangible cultural heritage has become a very complex game.
If industries entering through the path of "cultural resources" involve more private interests, while public cultural undertakings entering through the path of "intangible cultural heritage" mainly involve public welfare and community values.
Some folk arts that were previously considered limited to special groups of people have now become recognized public culture.
Among them, the changes in the public mind and social situation of national traditional festivals in recent years are obvious examples.
Traditional festivals have been labeled as lunar festivals and peasant festivals in modern times, and are not recognized as a whole in the national system such as statutory holidays ③.
In the past decade or so, the increasingly fading discussion of the New Year, the opposition of major cities across the country to the ban on fireworks and firecrackers during the Spring Festival, and the nationwide "Protect Dragon Boat Festival" movement in China sparked by South Korea's declaration of a representative of human intangible cultural heritage through the "Dragon Boat Festival Festival" have clearly demonstrated that traditional festivals are generally taken for granted as public culture.
As the country declared the four major festivals as national-level intangible cultural heritage masterpieces in 2006, many places across the country have proposed the Lantern Festival, Qixi Festival, and temple fair local festivals to declare national-level heritage this year.
The State Council is incorporating major traditional festivals into the statutory holiday system and has been officially announced as a decree after it was announced for comments.
It can be seen that a channel has been formed for relics to transform from purely folk life culture into social public culture.
There are still some obstacles and limitations in the process of evaluation and naming.
However, more and more extensive mechanisms for folk culture to become public culture are already functioning, and traditional life culture occupies the country's public culture as a whole.
It is only a matter of time.① See Gao Bingzhong's "Modern and Postmodern Encounters in Daily Life: Opportunities and Directions for the Development of Folklore in China", published in Folk Culture Forum, No.
3, 2006.② The rejuvenation of folk culture refers to the resurrection of relics into daily life, manifested in the re-spread and activation of traditional cultural activities with shrinking functions, incomplete forms, and marginal locations in society, becoming a way of life that can be completely recognized.
Organic composition.③ The fact that the Spring Festival is included as a legal holiday is a special case.
In this case, the Spring Festival is not respected as a tradition.
The old customs of the Spring Festival have always been abolished under the impact of politics), but more as a convenient rest time.
See Gao Bingzhong's "Time Management in Nation-States: Problems of China's Holiday System and Their Solutions," published in "Open Times", No.
1, 2005).)
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Intangible culture has become public culture, which roughly occurs at two levels.
One is that it is recognized by the public in terms of concept and is voluntarily participated by the public; the other is that it is officially recognized by government departments in terms of system and supported by certain public resources.
As we have explained above, the native living culture in China's daily life has gone through twists and turns of being devalued, denied, and abandoned in modern times.
At present, it is actively active in real life in a large number of projects, and there are many projects in the dilemma of inheritance), and partially re-recognized as public culture.
The government is the institutional guarantee of social publicity and the provider of cultural public goods.
Therefore, the government plays a particularly important role in treating intangible cultural heritage as public culture.
In fact, we have seen that many of the government's efforts around intangible cultural heritage can be classified as public cultural undertakings.
For public goods, the government's role is first to establish and maintain legal order and ensure that all parties involved abide by the rules of the game.
Although China's political and intellectual elites have long had the mission of transforming and abolishing various cultural expressions in traditional lifestyles, they still started legislative work on such culture long before UNESCO launched relevant protection projects.
At the national level, since 1998, the Ministry of Culture and the National People's Congress Education, Culture, and Health Committee have jointly organized the drafting of the proposed draft of the "Law of the People's Republic of China on the Protection of Ethnic and Folk Traditional Cultures" and have been extensively soliciting opinions for revision.
In August 2004, with the approval of the Standing Committee of the National People's Congress, China joined the UNESCO Convention for the Protection of Intangible Cultural Heritage.
As a result, the name of the law is proposed to be changed to the "Law of the People's Republic of China on the Protection of Intangible Cultural Heritage." A legislative work leading group composed of the National People's Congress, the Propaganda Department of the CPC Central Committee, the Ministry of Culture and other departments is further revising and improving the draft law, and has been included in the National People's Congress's Congress legislative plan.
At the local level, in recent years, many provinces and regions such as Yunnan Province, Guizhou Province, Fujian Province, and Guangxi Zhuang Autonomous Region and some prefecture-level governments have successively promulgated regulations on the protection of ethnic and folk traditional culture.
Public culture requires specialized institutions to perform management and service functions.
If intangible culture is officially listed as national and local public heritage, considerable specialized institutions need to be established to organize and promote the specific work of declaration, review, supervision, and implementation.
Because intangible culture is carried by private individuals, the process of transforming them into public heritage and subsequent management and public services are very difficult professional tasks that require the establishment of a supporting administrative management system.
In 2003, China established a "Protection Project" leading group with representatives from the Ministry of Culture, the Ministry of Finance, the State Ethnic Affairs Commission, the China Federation of Literary and Art Circles and other relevant ministries and commissions, and established an expert committee composed of experts from various disciplines.
In 2005, the inter-ministerial joint meeting system for the protection of intangible cultural heritage was established.
The joint meeting consisted of nine departments, including the Ministry of Culture, the Development and Reform Commission, the Ministry of Education, the State Ethnic Affairs Commission, the Ministry of Finance, the Ministry of Construction, the Tourism Administration, the Religious Affairs Bureau, and the Cultural Relics Bureau.
It can be said that it has mobilized a lot of people.
In order to implement the "Notice on Strengthening the Protection of Cultural Heritage" promulgated by the State Council, in 2006, the General Office of the State Council took the lead in adding the Ministry of Public Security, the Ministry of Land and Resources, the General Administration of Customs, the Forestry Bureau, and the Legal Affairs Office and other departments established a national cultural heritage protection leading group on the basis of the joint efforts of nine departments.
Under such leadership agencies, special daily operation agencies have also been established.
With the approval of the Central Institutional Establishment Committee, the China Intangible Cultural Heritage Protection Center was officially established in September 2006, focusing on the theoretical, practical and scientific protection of intangible cultural heritage.
Tasks.
China Intangible Cultural Heritage Protection Center has also established a China Intangible Cultural Heritage website, and is digitizing existing intangible cultural heritage materials and establishing a database to make it the foundation of the digital museum of China Intangible Cultural Heritage.
Some local governments and social forces have established a number of special museums for intangible cultural heritage, such as museums that display costumes and their production techniques, folk museums, and cultural and ecological museums in various places.
Of course, the most basic thing is the investment of state financial funds.
Since 2003, the state finance has allocated special funds for the protection of intangible cultural heritage every year.
Public culture must have considerable visibility in mass media and must facilitate public access to information and independent participation.
Thanks to the promotion of the intangible cultural heritage protection movement, on December 23, 2005, the State Council issued the "Notice on Strengthening the Protection of Cultural Heritage", proposing that the second Saturday of June every year be the National "Cultural Heritage Day." On the first "Cultural Heritage Day" in 2006, major museums in Beijing and across the country held special exhibitions on cultural heritage protection.
In accordance with international practice, during the "Cultural Heritage Day" period, cultural relics protection units at all levels across the country, museums, memorial halls and other public cultural facilities are open to the public free of charge.
Special exhibitions on intangible cultural heritage have also been held many times across the country in various forms.
Intangible culture enters public culture in the form of legal heritage, creating a path for intangible culture to become an important source of public culture for the entire society in the future.
Nowadays, intangible culture is still "promoted" into public culture through a single special approval.
This space for carp to jump over the dragon gate is still very narrow.
However, some ongoing cultural work has the potential to bring huge improvements.The Ministry of Culture has launched a census to comprehensively understand and grasp the types, quantity, distribution status, living environment, protection status and existing problems of intangible cultural heritage resources of various ethnic groups in various places.
The intangible cultural heritage list system is also being gradually established at the national, provincial and county levels.
The smooth progress of these major cultural projects and the social impact they have in this process will be of far-reaching significance to the role of the entire living tradition in our daily life as the cultural foundation and core of identity in the reconstructed national public culture.
Until the early days of modern times, the culture inherited in the daily life of China society was sufficiently extensive, that is, public, at the local community and national levels.
They were the public culture in life at that time.
After the continuous new cultural movement created the country's new dominant culture, that traditional culture was often called "folk custom") was denied and excluded by new communities that recognized modern culture, and became a marginalized cultural group and a marginalized status culture).
Their publicity as culture has been eroded, and the political and intellectual elite is even so extreme that it does not allow the people who inherit them to claim that they have any publicity, because elites occupy all important public spaces and public discourse, and their publicity has evolved into a weak and marginalized group.
After the transformation of discourse on cultural relics in recent years, especially the popularity of the concept of "intangible cultural heritage" and the launch of official protection projects, more and more relics have become national public culture.
China's public culture has shifted from modern culture cultivated solely through school education to diverse cultures that tolerate the inheritance of traditional daily life.
This is an important symbol of the transformation of self-awareness and cultural identity in China society, and a prominent symbol that China's mainstream society is more inclusive.
Now, we understand and promote the protection of intangible cultural heritage at the level of public cultural construction in the community.
It should be said that it is a mission of historical and social needs.
Author's unit, Department of Sociology, Peking University, China Center for Society and Development Studies)
Source: Literature and Art Studies, No.
2, 2008)