[Luo Hui] Intangible cultural heritage protection should be extended from a few folk artists to the public

In recent years, my country has made great achievements in the protection of intangible cultural heritage, with about 1400 projects included in the national intangible cultural heritage list.

Governments at all levels are also increasingly aware of the importance of intangible cultural heritage protection.

Some places have established special intangible cultural heritage protection agencies and have full-time personnel engaged in the collection, collation, protection and research of intangible cultural heritage, which is important for the protection and development of intangible cultural heritage.

But at the same time, in the past 20 years, the number of small folk operas in my country has decreased from 386 to the current number of more than 200, and more than 100 folk operas have been lost.

This shows that when we engage in intangible cultural heritage protection, we often only attach importance to the protection of a small number of cultural inheritors, while ignoring the public's role in the protection and development of intangible cultural heritage.

How can intangible cultural heritage reach the public from a few folk artists while maintaining its original ecology?

Intangible cultural heritage is considered to be a "living fossil" of history and culture, but precious intangible cultural heritage in some places has been largely lost or even destroyed.

With the rapid development of science and technology and the impact of international multiculturalism, they are willing to inherit and There are fewer and fewer young people studying intangible cultural heritage, and the environment for the inheritance of intangible cultural heritage is not optimistic.

Intangible cultural relics are cultural relics that live on people.

If no one inherits this art, it will be equivalent to being sentenced to death.

How to change the unfamiliar image of intangible cultural heritage in the hearts of the public, especially young people? We must deeply explore the psychology of contemporary people and understand what their psychological state is, what their spiritual needs are, and what their emotional needs and sustenance are.

Based on this, while retaining the connotation and essence of intangible cultural heritage, we artists should innovate its expression forms, take care of the psychology and emotions of contemporary people, pay attention to the aesthetics and needs of contemporary people, and conform to the psychological state of contemporary people.

Only by making the masses love and recognize intangible cultural heritage with innovative artistic expressions can we truly protect and inherit it.

Because it comes from the people, it should be active among the people.

However, the protection of intangible cultural heritage ecology, such as its skeleton, style and style, should be preserved intact, so as to meet the needs of different categories of audiences.

In fact, the better the original ecology of intangible cultural heritage is preserved, the more vitality its form will be; and the higher the public's recognition of the new form of intangible cultural heritage, the more attention they will pay to the protection of its origin, and the two can play a role in promoting each other.

In addition to creating intangible cultural heritage artistic expressions that the public is willing to accept, it is necessary to improve public awareness of intangible cultural heritage protection and change the public's recognition of the value of intangible cultural heritage.

Our country has a vast territory and many ethnic groups.

The protection of intangible cultural heritage is a huge project.

It is a national-level project.

It cannot be completed by any individual or unit and requires the cooperation of the government and all sectors of society.

Therefore, in addition to the efforts of professionals to protect intangible cultural heritage, radio, television, newspapers and other media can tilt more towards intangible cultural heritage and other folk culture in cultural reporting, reduce utilitarian purposes, and use the charm of intangible cultural heritage in public opinion to infect the public.

The power to protect "intangible cultural heritage" comes from the people around the heritage and from the deep love of each of us for the cultural heritage of the motherland.

The annual Sanyue Street Ethnic Festival, Raosanling, the Lantern Festival on the 15th of the First Month of the Secret Site, the Jianchuan Shibao Mountain Song Festival, the Yangbi Walnut Festival, and the Dali Erhai Opening Festival held in Dali have not only become an important tourism promotion activity for the local government, but also It is a major cultural festival event for the local people.

They are not only organizers but also participants.

It can be seen that the real power to protect cultural heritage comes from the people, from the respect and care of the Chinese people, and from the most solid beliefs deep in the souls of you and me.

Under the vigorous promotion and publicity of functional government departments, as long as each of us can pay attention to the traditional skills around us and maintain the cultural heritage around us, then the things left behind by these ancestors will breathe with our lives and develop together with the motherland.

At present, the state has many support policies for the protection of intangible cultural heritage and many financial subsidies for projects that are on the verge of extinction.

We now need to make good use of these policies and funds to stimulate the development of endangered folk art and ensure that our country's long-standing intangible cultural heritage lasts forever.