[Liu Xicheng] Intangible cultural heritage: A misunderstanding
Abstract: In terms of the census of intangible cultural heritage and the application and project protection of "intangible cultural heritage" lists at all levels, the category of "folk literature" passed down orally has fallen into a misunderstanding.
Many local government cultural authorities fail to pay enough attention.
Only 84 folk literature projects have entered the national list, accounting for 8% of the total 1028 projects.
This is extremely disproportionate to the folk literature texts collected and recorded in the 1980s (1.84 million stories, 3 million songs, and 7 million songs) and folk reality.
The author cited 91 "common stories" and "story types" from the five major regions of Northeast China, North China, Northwest China, East China, and Southwest China in the 1980s.
None of them were declared locally, so none of them were able to enter the directory and receive national protection.
There are only 32 inheritors of folk literature, accounting for 0.04% of the 777 people entered the national list.
Many famous works have not entered the national directory, which undermines the authority of the national directory.
There is an urgent need to make adjustments in terms of concept and practical work.
Keywords: folk literature intangible cultural heritage projects, misunderstandings, common stories and story types, inheritance and inheritors, concepts
A misunderstanding in the national directory
Establishing a national and local intangible cultural heritage list is one of the important ways for my government to effectively protect intangible cultural heritage.
As of May 2010, three batches of the national intangible cultural heritage list have been announced, and a total of 1219 intangible cultural heritage items have been recognized and protected at the national level.
The national, provincial (city), and county (district) levels intangible cultural heritage lists have initially formed a system; various localities have carried out protection with projects as the goal, and have also made preliminary and gratifying achievements.
The awareness of protecting intangible cultural heritage has been deeply rooted in the hearts of the people and has been widely recognized.
In addition, as of now, my country has applied for and twice been selected into the UNESCO "Representative List of Intangible Cultural Heritage of Humanity" including Kunqu Opera, Guqin Art, Xinjiang Muqam, Mongolian Long Tune, Dragon Boat Festival, China calligraphy, China seal cutting, China paper-cutting, China woodblock printing skills, China traditional wood structure building skills, China traditional mulberry silk weaving skills, Longquan celadon traditional firing skills, Mazu Xinsu custom, Nanyin, Nanjing cloud brocade weaving skills, Traditional rice paper making skills, Dong songs, Cantonese opera, Gesar (Si) er, Regong art, Tibetan opera, Manas, Hua 'er, Xi'an drum music, China's Korean agricultural music and dance, Humai; In 2009, there were 29 Qiang years, China's beam and wooden arch bridge building skills, and Li traditional spinning, weaving, dyeing and embroidery skills.
The author believes that all intangible cultural heritage projects of great value have generally entered the scope of protection by governments at all levels.
Of course, the country is large and the region is wide, and cadres at all levels participating in cultural work have different cultural consciousnesses and cultural cultivation, different understandings of the value of folk culture and the orientation set for the development of folk culture.
It is inevitable that there will be an imbalance in application and protection work.
For example, categories and projects that have commercial development value, are easy to be invested, expanded, reproduced and "built" into cultural industries, or are easy to be transformed into tourist attractions, have generally received the attention of local governments.
Those that do not have commercial development value, such as categories and projects belonging to "oral traditions", although they have important cultural value, even projects that are in an endangered situation and urgently need rescue, are difficult to receive the attention they deserve from local governments.
Due to the lack of culture-based knowledge and ideas, cultural authorities of local governments often focus their attention on government image projects such as tourism development, holding cultural festivals, and foreign investment promotion, or stay on the old path of cultural work-putting greater efforts on performing arts performances, they believe that such "intangible cultural heritage" projects that lack commercial development value lack the value of declaration and protection, and that even if they are done, they will cost people money.
Therefore, Most of these "intangible cultural heritage" projects are still in a state of continuing to be extinct and self-reliant.
Judging from the application and protection of the previous two batches of national "intangible cultural heritage" lists, the application and protection of "intangible cultural heritage" projects in the category of "folk literature" generally fall into this situation.
Please look at the statistics below:
Number, proportion and ranking of items in the national "intangible cultural heritage" list
class
don't
However, the two batches of national-level intangible cultural heritage lists that have been published cannot be consistent with the actual storage by the people.
Among the 1028 items that have been announced (excluding the expansion projects of the first batch of lists, which only add protection entities, i.e.
responsible protection units, but not the "intangible cultural heritage" items that should be protected), there are only 84 items in the category of "folk literature", accounting for only 8% of the total number of "lists".
On average, among the 30 provinces (cities, districts) in my country, each province (city, district) has less than 3 items! It is ranked eighth among all categories on the national "Intangible Cultural Heritage List"! A large number of valuable and influential folk literature (myths, legends, stories, etc.), including famous folk story types that have long been included in the worldwide index of folk story types, have not entered the national protected list.
This situation shows the world that although our "intangible cultural heritage" declaration and protection has achieved great results, it has also fallen into a misunderstanding.
How did this misunderstanding arise? What are its nature and consequences? The author believes that, first of all, due to misunderstandings and decision-making errors in some local cultural authorities, they did not give folk literature projects the status and attention they deserved, and mistakenly believed that oral and spiritual teaching was the way of inheritance and survival.
Folk literature has no commercial value, cannot be put into productive development, and cannot generate huge profits; Secondly, the census work in some places did not conduct serious investigations and collection in accordance with the procedures and requirements stipulated in the "Intangible Cultural Heritage Survey Work Manual" compiled and issued by the National Intangible Cultural Heritage Protection Center.
It went through the motions and did not investigate and collect the folk literature works that were still orally circulated among the people at the beginning of the 21st century, especially precious works, did not find the inheritors in field surveys (storytellers, singers and other inheritors) and provide their oral histories and the works they tell (sing); Third, folk literature cadres (specialized personnel) in cultural departments in various places have either been cut off due to age or lost due to other reasons, and experts and students from outside the cultural department (such as colleges and universities, research institutions) were not more widely recruited during the census.
Wrong cultural concepts and work orientations not only cause us to fall into the misunderstanding of "intangible cultural heritage" declaration and protection, but also pose a great danger of causing these cultural authorities to lose their cultural standard.
Stories belonging to the famous story type are ignored.
Intangible cultural heritage protection is a wide-ranging and complex project that requires a generally reasonable classification system.
A second level of classification must be established under each category., or subcategories, in order to unify national work.
The category of "Folk literature" is further divided into: myths, legends, stories, ballads, epics, long poems, proverbs, riddles, and others.
There are nine subcategories in total.
The author has the honor to participate in the inspection of intangible cultural heritage in Jiangsu Province and Shaanxi Province.
According to the census materials of the two provinces, the categories and items of the census are very unbalanced.
Among the 84 "folk literature" items contained in the two batches of national-level "directories", the distribution of their subcategories is also very uneven.
For example, the "legend" category has more applications and more entries, while the "story" category has fewer applications and fewer entries.
In short, neither the national census nor the national directory can reflect the actual situation of folk literature ecology.
Further analysis may be made below.
There are 23 items in the category of "legend", accounting for 27% of the total number of 9 subcategories of "folk literature".
Of course, in the various genres and categories of "folk literature", the richness of "legend" is determined by our national conditions, and it is also something that some nations and countries with shorter histories cannot match.
In Chinese legends, there are legends of mountains and rivers, legends of historical sites, legends of characters, legends of historical events, legends of customs, religious legends, etc.; legends of characters include legends of emperors, legends of officials, legends of scholars, legends of craftsmen, legends of peasant uprisings, etc.
The "legend" item in the "intangible cultural heritage" list accounts for the highest proportion, reflecting from one side that the tendency of local governments to emphasize legends and light stories is universal.
The number and proportion of myths and stories that have entered the national "list" so far are relatively small compared with legends, with only 4 myths (Pangu myth, Shaoyuan [Creation] myth, Yao legend and Yan Emperor Shennong legend); In addition to 10 story villages (such as Geng Village folk stories, Wujiagou folk stories, Xiabaoping folk stories, Zouma Town folk stories, ancient fishing geese folk stories, Kazuo Dongmeng folk stories, Beipiao folk stories, Laoshan folk stories, Dulongwan folk stories and Manchu folk stories), there are only two stories in the true academic sense: Xu Wenchang's story, Balagen Cang's story.
Story Village is similar to a cultural and ecological reserve, except that the area of Story Village is small.
The two folk stories, in terms of their characteristics, generally belong to stories with witty characters as the protagonists.
The protagonists are so-called "arrow-stack" characters, which is closer to the category of legends.
None of the folk stories in the true academic sense, such as life stories, fantasy stories, fairy stories, animal stories, etc., has entered the list.
According to my memory, in the few years since the launch of the national directory, only Jiangxi Province has declared the "Story of a Sweater Girl," which is the internationally famous "Swan Virgin Story" type.
The earliest record of the story of a woman in a sweater can be found in Gan Bao's "Search for God"(Volume 14) of the Eastern Jin Dynasty;"Tian Kunlun" in Tang Dynasty Ju Daoxing's "Search for God" collected in the stone chamber of Dunhuang is a relatively developed form of the story of a woman in a sweater (Luo Zhenyu's "Dunhuang Zero Ten" 7).
This fantasy story has been circulated in many places in our country and is undoubtedly a folk story cultural heritage that should be protected.
However, because the relevant units in Jiangxi Province, the applicant, focused on tourism development and did not seriously collect and record contemporary "living" stories that are still being orally circulated among the public, both applications were rejected by the expert review team.
It is a pity that.
Another example is the world-famous "Cinderella Story" that is also very popular in our country.
Researchers believe that it may have originated from the Yue people and their descendants in southern my country.
It is still spreading among 21 ethnic groups in the south.
As many as 70 stories have been collected,[3] The earliest record of it should be "Ye Xian" in Tang Duan Chengshi's "Youyang Zazu".
This type of famous folk story is also a precious cultural heritage that should be protected.
Unfortunately, there is no place to declare it.
The well-known story of "Tianluo Girl" is very popular in coastal areas.
The "White Water Plain Girl" in Tao Qian's "Postscript on Searching for God" in Jin Dynasty should be a relatively primitive form of this story.
That is to say, the story of "Tianluo Girl" has a history of at least nearly two thousand years.
It is recorded in Shu Xi's Fa Meng Ji of Jin Dynasty, Xu Jian's Beginners Ji of Tang Dynasty, and Ren Fang's Shu Yi Ji of Liang Dynasty.
The place where the story occurred in early records in Jin 'an, Fujian Province, either did not do any collection and research on the story, or felt that there was no interest in protecting the story, and had never declared as the subject of protection for this story or story type.
Protect it.
Before the application for the third batch of national intangible cultural heritage lists in 2009, the Intangible Cultural Protection Center in Haikou City, Hainan Province collected a batch of stories of "Tian snail girls" from fishermen and produced a short video.
It was done well and filled the gap in the story of "Tian snail girls".
Unfortunately, for some unknown reason, the Hainan Provincial Bureau of Culture and the Intangible Cultural Heritage Protection Center did not report the application for this project to the Ministry of Culture and lost the opportunity to review.
Similar world-famous fantasy stories or magic stories, such as "Snake Lang","Field snail girl","clever daughter-in-law","Snake Wife", and "White Bird Clothing"; life stories, such as "Dog Farming the Field","Stone Gate Opening","Frog Husband","Don't Give Up Until I See the Yellow River","Ginseng Story"; Animal stories or fairy tales,"Grandma Wolf","Sun Mountain Wolf","Cat and Dog Feud",...
None of these stories or story types that are still circulating in vast areas of our country have been established (filed) at the national level and are effectively protected.
Fortunately, during the application and review of the third batch of national-level directories in 2009, Quzhou City, Zhejiang Province and Qin County, Shanxi Province, declared the story of "Lankeshan".
This story of Wang Zhi meeting an immortal, first seen in Liang Ren Fang's "Shu Yi Ji" of the Southern Dynasties and with a history of nearly two thousand years, is still circulating in these places.
The local collection results and protection plans have received active support from national-level directory review experts.
As far as the author knows, in addition to these two places, there are also oral rumors in Luochuan in Shaanxi and Zhaoqing in Guangdong, which should also be comprehensively collected, studied and carefully protected.
What is the fate of the "common story" of the 1980s today?
During the census and compilation of folk literature carried out in the 1980s and 1990s to compile "Collection of Folk Literature in China, folk literature workers in some provinces and cities summarized and named a number of local" common folk stories "in China based on the collected materials.
These "common stories" are also called "story types".
This means that these stories or story types were still widely circulated orally among ordinary people in the 1980s and 1990s.
Examples are as follows (select one province for each region-cultural district as an example):
(1) In Northeast China, there are 27 common story types in Liaoning Province.
[4]In my opinion, at least 18 are worth protecting: 1.
The tiger mother (the tiger grandma);2.
The old monkey spirit marries a daughter-in-law;3.
The snake boy;4.
The toad son;5.
The strange child (weird child);6.
The calf marries a daughter-in-law;7.
Hundred bird clothes;8.
Xiao Tang Gong (two brothers);9.
The Western Heaven asks the living Buddha (asking the living Buddha);10.
Don't shed tears until the coffin, and don't give up until the Yellow River;11.
The snake swallows the people;12.
The Invisibility Cloak;13.
The golden pony; 14.
The horse power is known from a distance; 15.
Clever daughter-in-law; 16.
Panic 3; 17.
Fools learn to speak; 18.
Ugly daughter-in-law.
However, none of the two batches of "National Intangible Cultural Heritage List" entered.
(2) In North China, there are 15 common story types in Beijing City.
[5]In my opinion, at least 9 of them are worth protecting: 1.
A clever daughter-in-law;2.
A mother wolf (a tiger grandma);3.
A treasure to be suppressed; 4.
A cat and dog feud;5.
A fool learns to speak;6.
A person is weak and a snake swallows him.
7 It is fate to come thousands of miles to meet; 8.
Don't give up until you see the Yellow River;9.
People die for wealth and birds die for food.
However, none of the two batches of "National Intangible Cultural Heritage List" entered.
(3) There are 17 common story types in Northwest China and Shaanxi Province.
[6]In my opinion, there are at least 14 worthy of protection: 1.
Grandma Wolf;2.
The old monkey spirit married a daughter-in-law;3.
The child crying in the pot;4.
The son of the toad;5.
The fairy girl in the painting;6.
Wang En and the righteousness of the world;7.
Ask Buddha in the West;8.
The heart will never die until you see the Yellow River;9.
The heart is weak and the snake will swallow it;10.
The stepmother harms the first house;11.
The greedy brother-in-law and the benevolent younger brother;12.
The road knows the horse's power from afar, and the people will see the hearts of the people over time;13.
Select the son-in-law;14.
Open a hole to explore the treasure (the stone door is opened).
However, none of the two batches of "National Intangible Cultural Heritage List" entered.
(4) There are 30 common story types in East China and Zhejiang Province.[7]In my opinion, there are at least 19 worthy of protection: 1.
A mouse marries a daughter;2.
A cat and a mouse;3.
A dog and a cat feud;4.
A tiger is afraid of leaking;5.
A tiger grandma;6.
A snake boy;7.
A field snail girl;8.
Three Danshui and the dragon girl (dragon girl);9.
Ten brothers;10.
Hundred bird clothes;12.
Dog plowing the field;13.
Peacock gongs (the brothers are separated);14.
The heart is weak and the snake swallows;15.
Embroidery shoes falling from the cloud;16.
Mountain hat;17.
Digging gold ingot; 18.
A clever daughter-in-law is in charge; 19.
Distant son-in-law pays her birthday (Distant son-in-law).
However, none of the two batches of "National Intangible Cultural Heritage List" entered.
(5) In Southwest China, there are 12 common story types in Sichuan Province.
[8]In my opinion, there are at least 11 worthy of protection: 1.
Snake Lang;2.
Dog farming;3.
Field snail girl;4.
Toad son;5.
Ask Buddha;6.
People are weak and the snake swallows;7.
Xiong Jiapo (Wolf Grandma);8.
Dragon Girl;9.
Wangniangtan;10.
Luo Yin sent a waist;11.
A clever daughter-in-law solved problems.
However, none of the two batches of "National Intangible Cultural Heritage List" entered.
In order to illustrate the problem, the author selected common folk stories and story types from one province from each region as examples.
I think they can roughly explain the hidden situation and value of folk stories across the country.
The confirmation of these common folk stories or story types is generally based on materials and records circulated simultaneously in more than 5 counties and cities.
Some stories can also be seen in integrated volumes of folk stories across the country.
Therefore, they all belong to stories or story types that have a wide spread group or spread area.
Some stories are even recorded in the World Story Type Index compiled by foreign scholars (such as Thompson's Index of World Stories Types) or the China Folk Story Type Index compiled by Chinese scholars (such as: [De] Ai Bohua's "China Folk Stories Types",[US] Ding Naitong's Index of China Folk Stories Types ",[Taiwan Province] Jin Ronghua's Index of Integrated Types of China Folk Stories).
Twenty years have passed since the census records were recorded in the 1980s.
Twenty years are not long, but these 20 years have been 20 years of tremendous changes in rural society in China.
With the fierce impact of modernization and informatization, traditional rural areas have been pulled onto the fast lane of urbanization, resulting in a large number of villages and farmers.
Historic changes have taken place in the lifestyle of farmers, changing the old village structure and interpersonal relationships, and the status of the spread of folk oral literature in the spiritual life of farmers has been unprecedentedly challenged.
What is the fate of these "common folk stories" that grew up and formed in the long agricultural society? This is the proper meaning of protecting intangible cultural heritage, and it is also the top priority of protecting folk literature, because these "common stories" are, after all, folk stories that have a large coverage and are often told repeatedly in rural society.
Since the 1990s, the book "Research on the Types of Folk Stories in China" co-authored by Chinese scholars Liu Shouhua, Lin Jifu, Jiang Fan and Gu Xijia has included 60 common story types across the country.
Based on previous research, it has extensively absorbed the results of the integration of folk stories from all over the country and the county volume resource books, and conducted a comparative study on each story type.
These 60 story types are:
1.
Rats marry their daughters; 2.
The chick takes revenge; 3.
Tigers are afraid of leaks; 4.
Cats and dogs have feud; 5.
Grandma Wolf; 6.
Zhongshan Wolf; 7.
Centipede repays kindness; 8.
Yihu; 9.
The righteous dog savior; 10.
The myna bird takes revenge; 11.
Grateful animals and ungrateful people;12.
Weak people;13.
Lankeshan;14.
Immortal test;15.
Please poor gods;16.
Seeking good luck;17.
Ghost couple;18.
Ghost mother raising children;19.
Fishermen and water ghosts;20.
Song Dingbo sells ghosts;21.
Chasing the city god;22.
Murderous houses catching monsters;23.
Shimen opens;24.
Sun Mountain;25.
Silver transformation;26.
Ginseng essence;27.
Cooking sea treasure;28.
Being conscience;29.
snail girl; 30.
Snake wife; 31.
Dragon Girl; 32.
Fairy rescues husband; 33.
Shelang; 34.
Frog husband; 35.
Marriage for a month; 36.
My heart will never die without seeing the Yellow River;37.
Strange child;38.
Ten brothers;39.
Black horse Zhang San brother;40.
Dragon son Wang Niang;41.
Hunter Hailibu;42.
King of Hell;43.
Long horn on his head;44.
Long nose;45.
Dog farming;46.
Cinderella;47.
Girl with broken hands;48.
Calf wedding;49.
Dragon silkworm;50.
Two old friends;51.
Road distance knows horse power;52.
Zhang Lang divorces his wife;53.
The old man is a treasure;54.
Hundred bird clothes; 55.
Clever daughter-in-law; 56.
The cobbler's son-in-law; 57.
Mr.
Meng; 58.
Long-term workers and landlords; 59.
Wife theft was revealed; 60.
Although the research of the above-mentioned scholars based not on current survey materials but based on materials provided by different literati scholars over a long period of time, it should be said that it is still very valuable to compare it with the materials collected from surveys and collected in the ten years around the 1980s.
The author believes that although the cultural traditions and living conditions of various places are different, and the spread of folk literature will vary from place to place, the folk stories and story types summarized and refined in these research results can be regarded as national significance and common.
The protection value of stories or story types is self-evident.
After describing these situations, our question is:
(1) What reason do we have to exclude these most representative folk stories or story types from the national or provincial "intangible cultural heritage" list and leave them to fend for themselves? In other words, once our intangible cultural heritage list system is established, if these nationally representative, universal, and common folk stories and story types are absent from the list, then can it be called a list that not only conforms to the actual situation, but also reflects authoritative academic level?
(2) What is the fate of the representative "common folk stories" or "story types" of provinces and regions identified in the 1980s and 1990s? What answers did the new round of national intangible cultural heritage census conducted from 2006 to 2009 give?
Incidentally, this is mainly about folk stories, because folk stories have become the weakest link in applying for folk literature projects in various places.
If they are not adjusted in terms of concept and practical work, it will affect the construction of the directory system., bringing unexpected losses.
Regrets on the issue of inheritors In the article "Inheritance and Inheritors"[9], the author once expressed some exploratory opinions on the role and role of inheritors in the inheritance of intangible cultural heritage.
For a period of time, some friends on the front line of "intangible cultural heritage" protection have often asked me questions about the role of inheritors of folk literature.
Here, I would like to make some supplementary discussions on the issue of inheritors of folk literature.
Nowadays, government cultural authorities and academic circles generally realize that the core of "intangible cultural heritage" protection lies in the protection of inheritors, and have established a list system of inheritors.
Generally speaking, there is no doubt about this.
In fields such as traditional drama, traditional folk art, traditional handicrafts, and traditional Chinese medicine where individuals have a significant role, the significance of inheritors is particularly obvious, and their status is relatively easy to establish.
The opinions on the inheritors are also generally consistent with the situation of folk literature.
Almost without exception, the vast epics and many folk narrative poems discovered in recent years are sung by singers.
The epics survive because of the artists 'singing.
The descendants of the epic "Gesar","Manas","Jangel" and other long masterpieces have been widely known at home and abroad.
In countries around the world, including my country, there is no doubt that famous epic artists have made great contributions to national culture.
Those outstanding singing artists have received high respect and honor from society.
Among the people, singing experts (singers) are also well-known and highly respected.
Song Xian Liu Sanmei (Sister) is an example.
In contrast, capable storytellers-storytellers-do not have the reputation of famous singers.
But their historical achievements cannot and will not be buried in the mountains forever.
Over the past 30 years of reform and opening up, the situation in China has changed.
We have rewritten the record that there is no status of peasant storytellers in China's cultural history.
Folk literature researchers in various provinces have successively discovered some famous storytellers among the people and at the grassroots level.
Among them, there are storytellers of rural old women who have never traveled far in their lives but only live in their native villages, have outstanding language personalities and are eloquent.
There are also storytellers who are knowledgeable, and eloquent.
Tan Zhenshan, Wei Xiande, Liu Depei, Song Zongke, Jin Zhengxin, Jin Zhengxiang, Yin Baolan, Li Chengming, Tong Fengyi, Jin Deshun, Liu Defang, Yin Ze, Lu Ruiying, Sun Jiaxiang...
and a large number of male and female storytellers have become famous in the world.
Some storytellers have also been invited to go abroad and attend academic lectures of foreign universities.
The "List of Representative Inheritors of the First Batch of National Intangible Cultural Heritage Projects" announced on June 5, 2007 identified 32 inheritors of folk literature.
This is a happy start.
Ordinary peasant storytellers and singers have actually made it on the country's list of "intangible cultural heritage" inheritors! Of course, we also regret that there are only 32 inheritors of folk literature, accounting for 0.04% of all 777 inheritors of "intangible cultural heritage"! Such a ratio, no matter what, is unfair.
This is a heartbreaking ratio! Perhaps we should not have used the same standards as those in cities who specialize in certain skills to set people who tell stories and sing folk songs in rural areas.
They are the guardians of folk literature and its traditions in an extremely difficult environment! When they tell stories, sing, and tell jokes, they will forget the difficulties of their lives and become obsessed with his telling and singing.
This is what Engels, the mentor of the proletarian revolution, said: "The mission of folk storybooks is to make a farmer happy, uplifted and comforted when he comes home with a tired body after hard work at night, so that he can forget his own Tiredness has turned his barren fields into a fragrant garden.
The mission of the folk story book is to transform a craftsman's workshop and a shabby rooftop hut of a tired apprentice into a world of poetry and a palace of gold, while describing his vigorous lover as a beautiful princess.
But folk storybooks also have this mission: like the Bible, cultivate his moral sense, make him recognize his own strength, his power, and his freedom, inspire him with courage, and arouse his love for his motherland." [10]This is also the sacred mission of storywriters and singers!
Some friends who do grassroots protection work pointed out that they have seen that the inheritance of stories and folk songs in rural areas is often not passed down and taught by famous inheritors, but is inherited by groups and society.
In fact, this is a misunderstanding.
Most of the stories we remember in our hearts are those we remember when we were children, snuggled in the arms of our mothers or grandmothers, accidentally listening to them tell us, and then we remember them.
Sometimes, I listen attentively to people who can tell stories in the shade of trees in summer and in the cellar in winter.
That is not only our entertainment, but also our enlightenment.
Our knowledge begins by listening to stories and singing.
Those storytellers and singers are what we call inheritors today, the first teachers of each of us, but they may not be so outstanding, perhaps because we have accidentally forgotten them.
We have no right to bury them.
On the basis of the surveys conducted in the census, special attention should be paid to them, leaving behind their names, their images, their achievements and their contribution to Chinese culture.
The first draft dated August 17, 2009 was revised on October 25, 2010.
On November 5, 2010, he delivered a keynote speech at the "2010 China Art Anthropology Academic Conference" sponsored by China Academy of Art and China Art Anthropology Society.
Xizang Building.
This article was published in Henan Social Science, No.
5, 2011, and was renamed "A Misunderstanding of Non-Pre-Protection".)
Notes:
[1]See the general preface to "Collection of Folk Stories in China".
[2]The total number of songs and proverbs collected from all over the country written here was orally informed by Liu Xiaolu, director of the Editor-in-Chief of China Folk Literature Integration.
It is reported that the figures were announced at the China Folk Literature and Art Collection Collection Award Conference held by the Ministry of Culture in November 1997.
However, the author consulted the "Overview of the Collected Records of China Ethnic Folk Literature and Art" compiled by the Center for the Development of Ethnic Folk Literature and Art of the Ministry of Culture (China Youth Publishing House, 2004) and did not see relevant information.
[3]Liu Xiaochun,"The Chance of Fairy Lovers-Analysis of the Story of Cinderella","A Study on the Types of Folktales in China", edited by Liu Shouhua, pp.
547-557, Normal University Press, 1st Edition, October 2002, 1st Print, Wuhan.
[4]These 18 "Common Story Types in Liaoning Province" are composed of "Integration of China Folk Stories? Liaoning Volume (China ISBN Center 1994) was recognized by the Editorial Board and approved by the editors of the National Editorial Committee for the Integration of Folk Stories in China.
[5]These 15 "Common Story Types in Beijing City" are composed of "Integration of China Folk Stories? Beijing Volume (China ISBN Center 1998) was recognized by the Editorial Board and approved by the editors of the National Editorial Committee for the Integration of Folk Stories in China.
[6]These 14 "Common Story Types in Shaanxi Province" are composed of "Integration of China Folk Stories? Shaanxi Volume (China ISBN Center 1996) was recognized by the Editorial Board and approved by the editor-in-chief of the National Editorial Committee for the Integration of Folk Stories in China.
[7]These 19 "Common Story Types in Zhejiang Province" are composed of "Integration of China Folk Stories? Zhejiang Volume (China ISBN Center 1997) was recognized by the Editorial Board and approved by the editors of the National Editorial Committee for the Integration of Folk Stories in China.
[8]These 11 "Common Story Types in Sichuan Province" are composed of "Integration of China Folk Stories? Sichuan Volume (China ISBN Center 1998) was recognized by the Editorial Board and approved by the editors of the National Editorial Committee for the Integration of Folk Stories in China.
[9]My book,"Inheritance and Inheritor Theory", Journal of Henan Education University, No.
5, 2006 (September 30); see also "Issues of Inheritors of Intangible Cultural Heritage","Learning Times" of the Central Party School, June 11, 2007.
[10]Engels '"German Folk Stories", quoted from Marx and Engels on Art, p.
401, People's Literature Publishing House, 1966.