[Liu Xicheng] Some understandings of the digital collection of intangible cultural heritage of folk literature [1]
1) Characteristics of folk literature and digital collection
1)Characteristics of folk literature
Compared with other categories of "intangible cultural heritage", the "intangible cultural heritage" category has its own characteristics.
Looking at folk literature from the perspective of resource collection for the construction of an "Intangible Cultural Heritage Database", its characteristics are as follows: First, folk literature is oral literature passed down from generation to generation by the general public, and is a language art, and its carrier is spoken language).
"Carrier" is our term, and "media" is used in UNESCO's Convention for the Protection of Intangible Cultural Heritage.
Second, folk literature is like surging water, constantly changing and never stopping.
Folk literature recorded in different eras has the characteristics of different eras and reflects different social conditions.
Our task is to collect oral texts of folk literature written or sung by contemporary inheritors.
Only the recorded texts of works are the basic resources and data for the digitization of intangible cultural heritage.
These two characteristics determine that the digital collection we need to carry out is to record living folk literature works by recording, recording, video recording, and digital means.
Oral texts recording, telling, singing) are the most appropriate way to protect "intangible cultural heritage" such as "folk literature", and are also widely adopted and effective methods in countries around the world.
In other words, the digital collection of "intangible cultural heritage" resources in the category of "folk literature" is different from the collection objects of "traditional drama" that belongs to the form of "performing arts", which uses drama types and "folk art" that uses music types.
It is based on the faithful, scientific and true recorded texts of oral works.
Of course, in addition to the recording of texts, we must also collect or scan various manuscripts, prints, photos, pictures and other related artifacts of folk literature scattered and preserved among the people.
2) Diversity and complexity of the project
Since 2006, my country has published three batches of national-level intangible cultural heritage lists, with 1219 national-level list resources.
Among them, the total number of "folk literature" projects is 125:31 in the first batch, 53 in the third batch, and 41 in the third batch), accounting for 10.2% of the total three batches of directory resources.
Its distribution is:
6 items in Beijing City.
4 in Hebei Province.
9 in Shanxi Province.
5 items in Inner Mongolia Autonomous Region.
6 in Liaoning Province.
2 in Jilin Province.
2 in Shanghai City.
6 in Jiangsu Province.
17 items in Zhejiang Province.
1 in Anhui Province.
2 in Fujian Province.
17 items in Shandong Province.
5 in Henan Province.
13 in Hubei Province.
5 in Hunan Province.
2 in Guangdong Province.
4 items in Guangxi Zhuang Autonomous Region.
2 in Chongqing City.
4 in Sichuan Province.
7 in Guizhou Province.
15 items in Yunnan Province.
3 items in Tibet Autonomous Region.
3 in Shaanxi Province.
4 in Gansu Province.
5 in Qinghai Province.
8 items in Xinjiang Uygur Autonomous Region.
Nothing in the national-level directory is: Tianjin City, Heilongjiang Province, Jiangxi Province, Hainan Province, Ningxia Hui Autonomous Region, Xinjiang Production Corps, Macao Special Administrative Region and Hong Kong Special Administrative Region.
In addition, as of the writing of the "Proposal", the third batch of directories was not included.
There were 7109 provincial directories, 18504 municipal directories, and 54043 county-level directories.
The digitization of intangible cultural heritage list data has made great progress over the past two years.
By 2011, the "Phase I" project of the intangible cultural heritage digital protection project will be completed and passed the acceptance inspection.
The main contents include the formulation of draft digital protection standards and specifications for the three categories of traditional drama, traditional art, and traditional art creation techniques.
Research and development of digital collection software and the collection of special data resources for the three projects of Qin Opera, Gaomi Fuying Ash New Year paintings and Hui Style traditional residential creation techniques.
Since the end of 2012, as a supplementary project of the "Phase I" project, the folk literature "Wu Ge" special project has completed the formulation of relevant standards, project information collection and software development, and entered the data collection stage.
The "Professional Collection Standards for Digital Management of Intangible Cultural Heritage" compiled by the National Center for Digital Protection of Intangible Energy Culture puts forward two requirements for the selection of "projects" in the category of "folk literature":
1)In principle, the collection of folk literature works covers the main types of works in the main distribution areas of the project.
If there are multiple versions of a work on the same theme, the priority order of collection is determined according to the following conditions: [1]
A) Representative works by representative figures;
b) Different versions of works with high popularity and great influence);
c) Version variants that highlight the characteristics of the project);
d) Version variants that can reflect high artistic value or historical significance);
e) Classic versions of long-term and wide-ranging versions).
2)The same work can collect different versions of different periods and different narrators at the same time).
Although the "folk literature" items in the national intangible cultural heritage list are mainly works, they include the following four different situations:
1)Independent work.
For example: the epics "Gesar" and "Manas", the legends "The Legend of Liang Zhu","The Legend of the Cowherd and the Weaver Girl", and "The Legend of the Yang Family General"; the stories "The Legend of Lankeshan" and "The Legend of Xu Wenchang", etc.
2)Works declared in some form or bundles.
For example: "Wu Ge","Uyghur Dastan","Kazakh Dastan".
3)Works circulated in a certain village, district, county, or ethnic group.
Such as: "Geng Village Folk Stories","Wujiagou Folk Stories","Qinglin Temple Proverbs","Manchu Folk Stories","Xibo Folk Stories","Jiali Folk Stories", etc.
4)A project named after a famous inheritor.
Such as: Tan Zhenshan Folk Stories."
For the digital collection of intangible cultural heritage, we first choose to start working with "projects".
The "projects" in the "folk literature" category are determined based on the "projects" in the "folk literature" category in the National Intangible Cultural Heritage List.
The "Professional Collection Standards for Digital Management of Intangible Cultural Heritage" stipulates the provisions and requirements for "projects" in the category of "folk literature", that is,"the collection of folk literature works must, in principle, cover various variants of the same work of the project." In principle, it is correct and must be observed by all parts of the country.
However, this regulation also has flaws in that it does not take into account the complexity and diversity of the "Folk Literature" directory items.
The idea of "full coverage" only applies to certain works or certain projects, but not to other types of projects.
For example, in epic poems, the "full coverage" of project resources should also include two parts, namely, the recorded texts of the representative inheritors and their rap works and the works spoken and sung by other non-representative inheritors.
Because a work will be sung by many artists among the people, some can rap the entire work, and some can only rap part of the chapters, these are all included in the project.
In addition to these scattered epic texts of rap by artists, most of which are fragments), there are also rap texts of representative inheritors, and representative works versions of representative inheritors), which need to be recorded in full.
Even if he is a representative inheritor, he still has some fragments of text.
Another example is the folk stories of the "Story Village", such as Geng Village in Hebei Province, Wujiagou in Hubei Province, Zouma Town in Chongqing, etc., which are all representative inheritors.
Their representative works and catalogs of other works are undoubtedly under collection.
Among them, the stories told by storytellers and storytellers who cannot be called storytellers other than them, including their characteristic plots, character relationships, and language, should also be collected.
Only by collecting the stories of both people can we achieve "full coverage".
However, some projects, such as the legend of Lankeshan, even the legend of the Cowherd and the Weaver Girl, the legend of the White Snake, the legend of Meng Jiangnu, the legend of Liang Zhu, the legend of Dong Yong, and the legend of Xu Wenchang, etc., may not have representative inheritors.
For such projects, it is necessary to extensively collect and collect various content and legendary texts told by different storytellers circulated by several local protection units in different regions.
The "full coverage" of a digital resource collection project can be understood as the oral works that can be collected under the concept of a certain "project" in the category of "folk literature", including representative inheritors and non-representative inheritors in the project protection area.
Works told and sung by non-representative inheritors are all included in digital collection.
2) Classification issues
The first thing that works collected digitally of folk literature encounter is the problem of classification.
Each work collected should be given an attribute or label.
This attribution or label is the classification.
"Professional Collection Standards for Digital Management of Intangible Cultural Heritage" 3.7-"Characteristics of Folk Literature Categories" and requirements in the table: 1)"Work Classification-Category Name";2)"Scope and Characteristics of Work Categories".
According to this regulation, all collected resources must be classified and marked according to the "Works-Category Names" regulations, otherwise these collected resources will become a mess that cannot be sorted out, processed, or used.
In view of the fact that the current intangible cultural heritage digitization project has not yet researched and formulated its own classification system, we have to completely borrow the classification system of the national intangible cultural heritage list.
The "folk literature" category in the National List of Intangible Cultural Heritage is divided into: 1) mythology;2)"legends";3) stories;4) ballads;5) epic;6) long poems;7) proverbs;8) riddles;9) Others; there are nine subcategories in total.
However, for the digital collection of resources in the intangible cultural heritage database, these nine subcategories are not enough, and each subcategory needs to be subdivided.
Below, please allow me to refer to the classification systems already adopted by other folk literature databases to explain, which can be used as a reference for the national intangible cultural heritage digital system:
"Myths" include: myths about the origin of animals and plants, myths about the origin of gods, myths about the origin of the universe, myths about the origin of humans, and myths about the origin of culture.
"Legends" include: legends of characters, legends of historical events, legends of phoenix dances, and legends of news.
"Folk stories" include: animal stories, fantasy stories, fairy stories, life stories, and witty characters stories.
"Ballad" includes: song first), labor song, current political song, ritual song, love song, life song, historical song, nursery rhyme and children's song).
"Epic" includes: creation epic, migration epic, and heroic epic.
"Folk long poems" include: folk narrative long poems, folk lyrical attempts, and folk reasoning long poems.
"Proverbs" include: proverbs of affairs, proverbs of cultivation, proverbs of current politics, proverbs of life, proverbs of family, proverbs of customs, meteorological proverbs, agricultural proverbs, industrial and commercial proverbs, and cultural and educational proverbs.
"Riddles" include: object puzzles, event puzzles, and crossword puzzles.
Is "Xiehouyu" a single column? Or merge it into "proverbs"? Need a thematic discussion.
The allegorical sayings are divided into: writing about people, narrative, objects, and philosophy.
3)Collection of inheritors 'data
Representative inheritors and the interpretation of their works are an important part of the "project" and an important part of digital collection.
On March 15, 2013, the Ministry of Culture issued the "Implementation Plan for the Rescue Record Project for Representative Inheritors of National Intangible Cultural Heritage for the 12th Five-Year Plan" period, which launched the digital recording project of representative inheritors of national intangible cultural heritage projects., using digital means to record the cultural heritage mastered by the inheritors.
The Plan stipulates:
The protection of national representative inheritors of intangible cultural heritage (hereinafter referred to as national representative inheritors) is a key link in the protection of intangible cultural heritage.
In recent years, my country has carried out a lot of work in the identification, protection, and support of national-level representative inheritors and achieved certain results.
However, due to objective reasons such as the old age and frail health of the representative inheritors at the national level, the phenomena of "people leaving singing" and "people losing their lives" often occur.
At present, the Ministry of Culture has named 1986 national-level representative inheritors.
As of the end of 2012, the number of deaths has reached 134.
Among the living people, 826 are over 70 years old, accounting for 42% of the total.
Under such circumstances, it is urgent to carry out rescue records on national-level representative inheritors and make and retain as completely as possible the relevant representative project information they have mastered and inherited.
In order to effectively promote this work, the Ministry of Culture will set up special funds to implement the "Rescue Record Project for Representative Inheritors of National Intangible Cultural Heritage", and has included it in the "Cultural Reform and Development Plan for the 12th Five-Year Plan" period of the Ministry of Culture.
Strive to establish an efficient and complete working mechanism through the efforts of the "Twelfth Five-Year Plan" period, carry out rescue records of national-level representative inheritors in a planned and step-by-step manner across the country, and use about 8-10 years to fully complete all The recording of information related to representative national-level intangible cultural heritage projects mastered and inherited by national-level representative inheritors will leave precious genes of the excellent traditional culture of the Chinese nation for future generations.
The "Plan" stipulates that the tasks and rescue objects during the "Twelfth Five-Year Plan" period are:
According to the "Cultural Reform and Development Plan for the 12th Five-Year Plan of the Ministry of Culture", during the "12th Five-Year Plan" period, at least 300 national-level representative inheritors will be completed.
Modern technical means such as audio recording, video recording, and digital multimedia are used to truly and systematically retain comprehensive information such as oral history and traditional technical processes, representative drama festivals, and ritual procedures of national representative inheritors.
The collection results of rescue records will be integrated into the China Intangible Cultural Heritage Database as an integral part of the results of digital protection of intangible cultural heritage.
...
Among the first to fourth batches of national-level representative inheritors, those who meet one of the following conditions can be regarded as the record object of the "National Intangible Cultural Heritage Representative Inheritor Rescue Record Project".
1) As of the end of 2012, they were 70 years old and above and were born before 1943, including 1943, and the date of birth is subject to their ID card).
2) Those under the age of 70 but suffering from diseases that affect inheritance activities.
3) The living conditions of representative national intangible cultural heritage projects that they have mastered and inherited are endangered, and the total number of people participating in the inheritance is less than 5.
Representative inheritors of national-level intangible cultural heritage representative projects selected in UNESCO's "List of Intangible Cultural Heritage in Urgent Need of Protection" and "Representative List of Intangible Cultural Heritage of Humanity" shall meet one of the above conditions.
Priority must be given.
An outstanding storyteller, epic artist, and singer can be said to be a representative of national culture and a spokesperson of the national spirit.
The digital collection of various inheritors 'data is imminent and has even become the top priority for the digital protection of intangible cultural heritage.
Following the "Technical Standards" and "Business Standards" for ten categories of intangible cultural heritage organized and compiled under the auspices of China Intangible Cultural Heritage Digital Protection Center from November 2012 to April 2013, we now have this in hand."Professional Collection Standards for Digital Management of Intangible Cultural Heritage".
Among them, the provisions on the collection of inheritors in the "Characteristics of Folk Literature Categories" are listed in 3.7.2.
Performance and 3.7.4.
There are relevant expressions in "Representative Figures", which can be said to account for a large amount of weight.
It is true that the key to the survival of "intangible cultural heritage" such as "folk literature" lies in the inheritors.
The inheritors of folk literature mainly live in rural settlements, and its inheritance and dissemination are generally seen in the inheritance of families.
Children, teenagers, daughters-in-law, often snuggle up to grandma and grandma, listen to their stories with gusto, and become storytelling and humming tunes.
Audiences, folk literature has become an important source of enlightenment knowledge for a person's growth.Of course, there are also some versatile figures in rural areas who are good at telling stories and singing folk songs.
They tell stories to farmers during the off-season.
Young men and women often sing love songs in the wilderness and sing and playing songs in large-scale rural festivals., duet songs, and fight songs.
Year after year, day after day, these people often become famous storytellers and singers.
Among them, outstanding figures have entered the representative inheritor lists at the national, provincial, municipal and county levels.
There are 32 people in the first batch, 25 people in the third batch, and 20 people in the fourth batch.
The total number has reached 77.
It only accounts for 3.6% of the total number of 1986 representative inheritors of the ten major categories of projects.
The main reason why the number of representative inheritors entering the national list is so small is due to the nature of folk literature.
They are not as professional as craftsmen and devote their lives to the production and production of a craft.
They cannot become professionals, especially those craftsmen in cities.
As stated in the document cited above, in recent years, some representative inheritors of the old project, such as Tan Zhenshan, Jin Jingxiang, Wei Xiande, etc., have passed away one after another.
Most of those who are alive are very old and their situation is not optimistic.
Their data is in urgent need of digital records and preservation.
3.7.4 in the "Professional Collection Standards for the Digital Management of Intangible Cultural Heritage" and "Characteristics Requirements for Folk Literature Categories".
Among the "representative figures", in addition to requiring the collector to record the full oral text of the representative works and the live singing or narration process of the representative inheritor by means of audio, video, and video, it is also required to record relevant information about the inheritor: Basic information: name, date of birth, gender, place of birth, ethnicity, home address, occupation, cultural level, etc.), representative works, learning and apprentice status, and main artistic achievements.
Historical materials such as photos, artifacts, transcripts, etc.
are reproduced by copying, remaking, scanning, etc.
I would like to add two more points:
First, for works narrated or sung by representative inheritors, both recorded texts and recordings should be paid equal attention to, and their language, their figurative language, local dialect, and proverbs and allegorical sayings should be faithfully recorded.
Their narration and singing are vivid, humorous, and unique in style, which are often beyond the reach of ordinary writers.
Second, in addition to the full-text recording or video recording of their representative works and transcribing them into Mandarin, they must also record all catalogues of works that he can talk and sing.
If published, the appendix will be at the back of the book.
2) Traditional and contemporary
1)Resource collection method
The "Specifications for Professional Collection of Intangible Cultural Heritage Digital Management" stipulates that the collection method of folk literature is: "A combination of on-site inspections and existing data collation should be adopted." Page 29) This involves a question that needs discussion and dialectics.
I believe that the collection of digital resources should mainly adopt on-site inspections, and only through on-site inspections and on-site collection can we obtain the current folk literature data.
"Existing data" is also very precious data and should be collected simultaneously.
As for the "collation of existing data", it is a matter of entering the database and entering the research stage.
If the current field materials obtained through on-site surveys are treated indiscriminately from the existing past recorded materials, our future intangible cultural heritage database will be a database that has lost or blurred the characteristics of the times.
Past materials are also very precious cultural heritage record materials.
As stipulated in the document, they need to be processed and sorted out when they are included in the database.
The minimum work is to indicate at the end of the text the narrator, if any) and the time of the narration.), and the time of collection).
Also indicate where it came from.
2)Comprehensive and representative
In January 2010, China Academy of Art was entrusted by the Ministry of Culture to launch the "Digital Protection Project of Intangible Cultural Heritage." The "Construction Planning Demonstration Meeting for the Digital Protection of Intangible Cultural Heritage during the 12th Five-Year Plan Period" was held in Beijing from December 6 to 8, 2010 to discuss and demonstrate the "National Major Informatization Project Construction Plan 2011-2015)·Intangible Cultural Heritage Digital Protection Project Proposal" drafted by the drafting group under the leading group.
The "Proposal" stipulates that an "intangible cultural heritage resource database" should be built, including six sub-databases: census database (including directory, inheritors), special database (including protected areas, rescue and protection topics), scientific research database, work database, and public database.
The purpose is to "use various methods such as text, audio recording, video recording, and digital multimedia to make a true, systematic and comprehensive record of intangible cultural heritage and establish census archives and databases." Among them, the "census database" mainly contains various data obtained during the national intangible cultural heritage census conducted from 2005 to 2009, while the census obtained 344322 items of "folk literature" data, which is the largest among the ten categories of intangible cultural heritage census, accounting for 25.4% of the total of 876859 items in the ten categories.
61231 items of traditional music, 21980 items of traditional dances, 14774 items of traditional drama, 9292 items of folk art, 27645 items of traditional sports, entertainment and competition, 34023 items of traditional art, 73998 items of traditional skills, 25983 items of traditional medicine, 227209 items of folk customs, and 29890 items of folk knowledge.)
To summarize, the digitization of intangible cultural heritage resources can be mainly divided into three aspects: census data; directory item data; and inheritor representative data.
The contents described in the "Professional Collection Standards for Digital Management of Intangible Cultural Heritage" and "Characteristics Requirements for Folk Literature Categories" are mainly the "specifications" for resource collection of "projects".
On the one hand, it stipulates the comprehensiveness of data collection, requiring "in principle, covering the main types of works in the main circulation areas","representative works of representative figures", as well as narration works of the inheritors in different periods, relevant information in the narration, relevant instruments and pictures, etc.; on the other hand, it also emphasizes the priority of the collection of the following narrative texts.
Namely: works with high popularity and great influence; versions that highlight the characteristics of the project); works with high artistic and historical value; texts with long circulation and wide scope.
Without comprehensive resource collection and description, the storage capacity of the intangible cultural heritage digital database to be built in the future will appear monotonous and poor, making it difficult to have the responsibility of the general database of intangible cultural heritage of all ethnic groups in China and ultimately achieve the role of resource sharing.
Paying attention to both comprehensiveness and representativeness should be the policy for collecting project resources.
3)Tradition and contemporaneity
The standards for the "Folk Literature" list items in the "Principles and Standards for the Review of National Intangible Cultural Heritage List" issued in February 2010 stipulate the following five articles:
1)Have important historical, cultural, linguistic and academic value;
2)It is mainly passed down through oral and psychological transmission among ethnic groups and individuals;
3)In contemporary times, there is still a large number of inheritance and circulation among certain groups;
4)It has distinctive traditional characteristics and has far-reaching influence;
5)It has outstanding cultural representation or symbol in a wider area or a certain ethnic group.
The "folk literature" projects in the national "intangible cultural heritage" list are required to have a distinct tradition, that is, the projects selected should be passed down from generation to generation, rather than newly created; they must be in a relatively wide area or a certain ethnic group.
Works with outstanding cultural representation or iconic characteristics.
Tradition and inheritance, representativeness and symbolism are the most basic "thresholds" for applying for a national-level directory.
In the collection of digital intangible cultural heritage resources, the collection of folk literature must be those that are being passed down orally in the contemporary era, rather than those recorded in the past, that is, those that show distinctive "contemporary" characteristics.
Here, tradition and modernity form a pair of paradoxes.
Today's so-called "contemporary" refers to the nearly two decades of the early 21st century.
The texts of works recorded in the 1980s cannot be used to replace the works recorded today.
The reason is very simple.
In the 1980s, although China's society had begun to enter a new era of reform and opening up, at that time, China society was still in a relatively stable social form with the continuation of ancient agricultural civilization.
However, the current society is already in the process of rapid transformation.
Whether it is the economic form and structure, the family system, or the more profound social etiquette and values, drastic and profound changes have taken place.
These changes have had a serious impact on folk literature.
Folk literature, which is still passed down orally among the people in the current era, has undergone changes in content and value judgment, either hidden or emerging.
Therefore, we must emphasize that the data resources collected by the intangible cultural heritage database built today must be contemporary folk literature works that are still orally circulated among the public.
The recorded texts of folk literature collected or published in the past must also be included as much as possible, but the person who narrated and sang the song, the name, identity, age, occupation of the person who recorded the song, the time, place of the collection and record, and the original source must be marked.
Because folk literature changes with the passage of time and social changes, this change is not only manifested in language, artistic form, artistic style, and aesthetic views, but more importantly, in the social pattern reflected by the work, the people's criticism of society and group demands, the universe outlook, values, and morality.
3) Comprehensiveness, representativeness and authenticity
Record collection) is the basic method for collecting "intangible cultural heritage" digital resources such as "folk literature".
The recording of folk literature resources requires the "three qualities" of comprehensiveness, representativeness and authenticity).
Adhering to the "three natures" of comprehensiveness, representativeness and authenticity is a correct principle that has been proved by practice over the years.
These principles also apply to our collection of data resources from the intangible cultural heritage database.
1.
The so-called comprehensiveness...
means that we should investigate and collect according to the original living conditions of folk literature, and investigate whatever there is, and collect whatever there is.
We cannot set a framework at the beginning of the investigation.
Subjectively and transcendently abandon certain aspects and certain works, thereby changing its original living appearance.
2.
The so-called representativeness roughly includes the following four meanings:
1)On the basis of comprehensively grasping the hidden situation of folk literature in a certain area, select representative genres and representative works narrated or sung by representative inheritors, and carefully and scientifically collect them.
2)Special attention should be paid to the humanities and folk customs of the survey site, as well as to the experience and inheritance of the narrator.
3)Works collected by investigators and takers in an area may have a variety of different languages.
It is necessary to select representative texts in terms of plot, language, folk connotation and art.
Other variants that have important reference value should also be placed in the appendix as reference supplementary texts.
Works of the same type or the same type must be collected completely.
The more complete, the more complete, the more likely it is to be compared.
However, when editing, it is impossible to select all materials, and you don't have to select one article to make a choice).
All works that have not been selected, such as incomplete ones, will also be used as an appendix.
It should also be explained in detail in the notes...
4)Since typology is an important feature of folk literary works, only because of its typology can it be circulated in different regions, and in the circulation, some details and branches are constantly added and lost like a "snowball".
As a result, some works have gradually evolved into famous works that have been circulated in many regions over the past thousands of years...
3.
The so-called authenticity mainly includes the following two points:
1)When collecting and recording folk works, investigators and takers must be loyal to the original appearance of the narrator's narration.
Recording work generally uses transcripts, and it is best to use modern means such as audio recording and video recording.
Audio-visual materials are particularly precious.
Do not tamper with the text told by the narrator when recording and compiling the transcript, replace the narrator's language and narrative method with your own language and narrative method, and do not arbitrarily delete or rewrite what you think is bad, indecent, or even superstitious.
plot.
If you sing or narrate in the national language, try to use the national language to record the nations without words (International Phonetic Alphabet or Latin Phonetic Alphabet), and then translate them into Chinese text word by word.
Those who are sung and told in dialects must be recorded in dialects and annotated...
2)All narrators and singers who have rich folk literature resources and are particularly talented have their own personality and creativity in their narratives or singing.
Recorders must respect their styles and creations and not arbitrarily change them.
Only by faithfully recording can we retain the personality of their telling works.
[2]
It is feasible and necessary to collect the text of folk literature through transcripts and recordings.
However, using video means to record the entire process is of course superior, but it is costly and depends on the specific situation.
However, one point must be adhered to, that is, the folk literature data obtained in the national census, that is, the folk literature resources circulated and owned within a county), the data from the "Directory" project selected into the national, provincial, municipal, and county directory), and the collection of recorded text data from representative works of the project inheritors must be tested based on the principle of "three qualities" to ensure the authenticity and reliability of the data resources stored in the database.
And the contemporary characteristics of the "Intangible Cultural Heritage Database" under construction.
November 19, 2013
(This article is a lecture delivered at the National Intangible Cultural Heritage Digital Protection Training Conference held at the Intangible Cultural Heritage Digital Protection Center of China Academy of Art on the afternoon of November 20, 2013)
[1]The author suggests the following modifications: In principle, the collection of folk literature works should cover various variants of the project's works.
Just like when a work has multiple different texts, the priority order of collection is determined according to the following conditions.
[2]"Survey Manual of China Intangible Cultural Heritage" compiled by China Intangible Cultural Heritage Protection Center, Culture and Art Press, January 2007 edition, pages 22-23.