[Qiao Xiaoguang Su Huan] Cultural inheritance in the Internet era

Abstract: The modernization of the country has opened a new era.

The popularization of telephone and Internet, the tide of migrant workers, and the narrowing of the gap between urban and rural areas...

Various factors have created today's Internet era and impacted traditional rural life.

At the same time, our country has ushered in the era of cultural heritage, and intangible cultural heritage protection has gradually become normalized.

The encounter between the Internet era and the cultural heritage era has produced a number of cultural phenomena: cultural logistics, cultural evolution, cultural integration, cultural homogeneity, cultural derivation, cultural utility...

The prominence of these intangible cultural heritage issues brings challenges to intangible cultural heritage.

The state has continuously implemented new policies and new plans in the protection and inheritance of intangible cultural heritage.

In particular, the training program for intangible cultural heritage people launched by the Ministry of Culture since 2015 has become an important measure in intangible cultural heritage inheritance work in recent years.

The advancement of the practical work of intangible cultural heritage inheritance and protection makes us think about how inheritance in the Internet era should shift from cultural spontaneity to cultural consciousness.

Keywords such as university intangible cultural heritage, community intangible cultural heritage, youth intangible cultural heritage, and overseas intangible cultural heritage should trigger our thinking and practice in this dual era where tradition and modernity constantly collide.

Keywords: Intangible cultural heritage Village community culture Internet era Living culture University Intangible Cultural Heritage Community Intangible Cultural Heritage

From the birth of the World Wide Web to today's self-media era, our lives have undergone earth-shaking changes, whether in cities or villages.

China, an ancient civilized country, is undergoing an unprecedented transformation of civilization.

Modernization, urbanization and globalization brought about by the Internet are all profoundly affecting China's traditional rural life.

Entering our lives at the same time as the Internet is also the arrival of the era of cultural heritage.

As China's intangible cultural heritage projects increase year by year in the World Intangible Cultural Heritage List, a series of national protection policies have been implemented one after another.

Although "intangible cultural heritage" has entered people's attention, the reduction of traditional villages and the replacement of farming methods have changed the original environment of intangible cultural heritage.

Spontaneous folk life is changing, declining and even dying out, which has triggered a series of intangible cultural heritage phenomena and the problem of intangible cultural heritage inheritance.

The confrontation between tradition and modernity makes us think about how to face the inheritance and practice of intangible cultural heritage today.

Cultural ecology in the Internet era

In the past decade or so, we have ushered in the era of cultural heritage.

Both national policies and people's eyes are gradually focusing on intangible cultural heritage, and protection plans and measures on intangible cultural heritage continue to emerge.

However, the speed at which intangible cultural heritage is disappearing is much faster than the speed at which we protect it.

The fundamental reason is the change of the traditional farming environment on which intangible cultural heritage relies.

Since the reform and opening up, my country's urbanization process has accelerated, and the level of urbanization has increased from 17.92% in 1978 to 51.27% in 2011.

This has resulted in a sharp decline in the number of rural areas.

The number of grassroots administrative villages in my country has increased from 690388 at the time of reform and opening up to 589874 in 2011, with an average annual decrease of 2956.

[1]Even if the decline rate of administrative villages is at this level, it can be imagined that the number of natural villages is decreasing.

In the ten years from 2000 to 2010, about 900,000 ancient villages disappeared [2].

The disappearance of natural villages means the disappearance of material and intangible cultural heritage in the village.

Even in the natural villages that survive, people's lifestyles have undergone tremendous changes compared to the agricultural society.

Roads, cables, and networks connect the village to the world, and traditional culture is changing quietly.

Cultural heritage history in the Internet era

On May 18, 2001, UNESCO announced the list of the first batch of "Representative Works of Oral and Intangible Heritage of Humanity" in Paris.

Kunqu Opera was included among them.

China became one of the 19 countries to be included in the World Intangible Cultural Heritage List for the first time.

Kunqu Opera's entry into the World Intangible Cultural Heritage List has officially introduced the concept of intangible cultural heritage in my country.

In 2003, UNESCO adopted the Convention for the Protection of Intangible Cultural Heritage.

In 2004, my country became the first country to join the treaty.

In the same year, the rescue project of China folk cultural heritage initiated by the China Folk Literary and Art Association was launched, and the filing and sorting of a series of cultural heritage such as Thangka, New Year paintings, paper-cutting, ancient villages, and oral literature were launched across the country.

In 2005, the "Opinions of the General Office of the State Council on Strengthening the Protection of Intangible Cultural Heritage in my Country" and the "Notice of the State Council on Strengthening the Protection of Cultural Heritage" were officially issued, establishing "protection first, rescue first, rational utilization, inheritance and development" The sixteen-character intangible cultural heritage protection guideline also requires the establishment of a national and provincial, municipal and county representative list system of intangible cultural heritage.

At the same time, intangible cultural heritage work departments at all levels have been established one after another.

It has opened my country's "four-level intangible cultural heritage protection system." In 2006, the "Interim Measures for the Protection and Management of National Intangible Cultural Heritage" was implemented, which specified the recording, protection, and inheritance of national intangible cultural heritage, the identification, responsibilities, and training of inheritors, and the responsibilities of management departments at all levels.

Acts and requirements have been clearly stipulated.

The implementation of this method has pointed out the direction for clarifying the working methods of my country's four-level intangible cultural heritage protection system, and intangible cultural heritage protection has begun to move towards normalization.

Protecting the country's intangible cultural heritage in the form of law is an important responsibility entrusted to states parties by the UNESCO Convention for the Protection of Intangible Cultural Heritage.

In 2011, the "Law of the People's Republic of China on the Protection of Intangible Cultural Heritage"(referred to as the "Intangible Cultural Heritage Law") was passed and implemented.

This law is based on my country's exploration of intangible cultural heritage protection and is formulated according to my country's actual situation.

The promulgation of the "Intangible Cultural Heritage Law" formally incorporated the protection of intangible cultural heritage into the national legal system, giving intangible cultural heritage protection legal benefits and a milestone significance.

[3]

The 2016 government work report proposed to "cultivate the spirit of craftsmanship for excellence." "Craftsman spirit" has become a hot word, making the traditional cultural skills and spiritual connotation of the Chinese nation a kind of value, which has once again aroused the society's attention to intangible cultural heritage.

Outstanding representative inheritors of intangible cultural heritage frequently appear on the list of people representing the "spirit of craftsmanship".

After the promulgation and implementation of relevant documents, my country has carried out a series of intangible cultural heritage protection work from top to bottom.

In 2006, 2008, 2011, and 2014, the State Council announced the first to fourth batches of representative lists of national intangible cultural heritage in my country, totaling 1219 items.

During this period, there were also 8786 provincial intangible cultural heritage lists and prefecture-level intangible cultural heritage lists.

There were 18186 intangible cultural heritage lists and 53776 county-level intangible cultural heritage lists [4], totaling more than 80,000 items, accompanied by the selection of representative inheritors and the development of related activities.

The above figures allow us to see our country's huge intangible cultural heritage resources and also represent the practical efforts made by management departments at all levels in intangible cultural heritage protection.

The era of cultural heritage has arrived, and intangible cultural heritage protection has embarked on a daily track.

The top-down intangible cultural heritage management work allows us to see the effectiveness of intangible cultural heritage protection.

However, problems that are progressive from top to bottom have become more and more prominent, such as shortage of special funds and omissions in the selection system for intangible cultural heritage inheritors.

Changes in rural life in the Internet era

The World Wide Web was born in the United States in the early 1990s and immediately spread to countries around the world and also came to China.

The Internet is an invisible network that allows any two points in the world to meet at any time.

It has changed the way people understand the world and changed rural life that is dependent on intangible cultural heritage.

When the Internet was first born, there were 200,000 Internet users in the world.

20 years later, the world has 3 billion Internet people.

Huge information is filled with us.

The Internet benefits and changes our work and lives all the time.

It also brings good news to improving traditional agricultural production methods and agricultural product sales methods.

In the early 1990s, my country implemented the "Village-to-Village Access"[5] project in rural areas.

After achieving the smooth flow of most roads, electricity, tap water, and telephone networks, the "Village-to-Village Access Network Information" project was launched.

This project should connect every village to the Internet, allowing farmers to receive convenient and rich consultation like citizens.

As of 2006, 97.6% of villages in my country had installed telephones, and 57.4% of villages had installed cable TV or Internet.

[6]As of December 2015, the rural Internet penetration rate reached 31.7%, and the number of rural Internet users in China reached 195 million, accounting for 26.9% of all Internet users in my country.

Mobile phone manufacturers such as Motorola and Huawei specifically launch low-cost mobile phones priced at 160-800 yuan in rural areas.

Mobile Internet access has become the main driving force for the growth of Internet users in rural areas.

[7]

Most of the people who use the Internet in rural areas are young people who have received basic education and can operate computers.

The information life of young inheritors is no different from that of cities.

The inheritors upload their works to the online platform, and the works face an audience of 3 billion Internet users, providing an extremely broad field for the spread of intangible cultural heritage.

Young inheritors use a mobile phone to meet overseas customers who love intangible cultural heritage and sell their works abroad.

Many young people also use the convenient Internet to open Taobao stores to sell their works.

In addition to selling works and self-promotion, the Internet is also the main way for inheritors to obtain intangible cultural heritage consultation and receive notices from superiors.

The prosperity of the Internet has also exposed some practical problems with intangible cultural heritage.

For example, with the popularization of the Internet, the older generation of inheritors over the age of 60 who cannot use the Internet are gradually separated from the active inheritance field.

The unequal information has closed the inheritance time and space of the older generation and hindered their inheritance to a certain extent.

Inheritance and development.

Farmers 'mobility in the Internet era

The convening of the Third Plenary Session of the Eleventh Central Committee brought reform and opening up policies.

Industrial economy and urban construction tasks required a large amount of labor.

Farmers left their land and poured into the same destination-cities.

The movement of farmers has changed the demographic structure of the village and the agricultural social life that farmers have continued for thousands of years.

The "peasant workers 'tide" that began in the 1980s is the third large-scale population migration since the founding of the People's Republic of China after the "Great Leap Forward" and "Going to the Countryside".

The number of population migration this time is much larger than the previous two.

During the Great Leap Forward period, the number of people migrating accounted for about 4.5% of my country's total population, and the number of people migrating from mountains to rural areas accounted for about 2% of the total population.[8] In 2005, the number of rural floating population was 140 million,[9] accounting for 11% of the total population.

This data was refreshed again in the 2015 statistics.

At this time, the number of migrant workers in my country was 270 million, and [10] the rural population was 600 million.

That is to say, 45% of farmers made a living in cities and towns.

Young people are full of yearning for the city.

They are the main force in the migrant workers group and an important force in changing rural lifestyles.

In 2004, the average age of migrant workers was 29 years old, and migrant workers under the age of 30 accounted for 61% of the total.

[11]Migrant workers in cities quickly integrate into new life and come into contact with new things.

They use phones and the Internet to contact their hometowns and quickly transfer urban life to the countryside.

The most direct impact is the regular return of young people.

They bring clothing, information, living habits and even the Internet from the city directly to the countryside, allowing more villagers to understand the outside world.

Urban life has forced young people to abandon rural beliefs and customs for a long time.

Only when they return home for important festivals or activities do they have the opportunity to come into contact with customs.

These folk customs are distant and unfamiliar to young people.

Some young people use mobile phones to take photos and upload videos to the Internet.

The original participants become onlookers like tourists; some young people are also interested in "fresh" rural folk customs, imitating the elderly to learn and experience traditional folk customs, but it will not be long before they devote themselves to busy urban life.

Young villagers travel back and forth between cities and villages like migratory birds.

The amount of movement is proportional to changes in rural life.

The huge number of farmers moving has a huge impact on the changes in traditional folk customs.

Migrant workers bring Internet life to the countryside, allowing farmers in the countryside to understand the broader world, forming a cycle of communication between the countryside and the city, and rural life and traditional folk customs gradually weaken in the cycle.

Today's countryside is a countryside that lacks youth and vitality.

The organization of folk activities can only be supported and maintained by the older generation.

The existence environment and living conditions of intangible cultural heritage have changed during the migration of farmers.

The phenomenon of intangible cultural heritage in the Internet era

Rich information resources improve farmers 'lives, provide more opportunities for inheritors, and are conducive to the popularization and promotion of intangible cultural heritage.

At the same time, inheritors 'acceptance of the Internet has also changed the traditional form of intangible cultural heritage and the inheritance status of inheritors.

Some cultural phenomena have emerged one after another, which has made the practice of intangible cultural heritage face different challenges from the past.

Cultural logistics

The biggest advantage of the Internet is that it provides people with unlimited information resources anywhere.

This feature has created the phenomenon of "cultural logistics" in the intangible cultural heritage era.

That is, under the influence of the Internet, intangible cultural heritage types, cultural symbols and even folk customs are circulated from the source.

To another area for display, sale or performance.

The popularization of the Internet has transported intangible cultural heritage resources from various places to the eyes of the inheritors, stimulating the inheritors 'creative desires all the time.

In the early stage of creation, the inheritor selects reference images based on his personal aesthetic tendencies.

Without worrying about the region, he inadvertently "logistics" intangible cultural heritage from other places into his own works.

We can see it in the works created by the inheritor.

Image sources from various regions and cultures.

Popular images from local traditional crafts may be being transported to other cities and will soon appear in the work of another off-site intangible cultural heritage inheritor.

In recent years, expos have become an important way for intangible cultural heritage inheritors to inherit life and increase economic income.

Frequent expos are also an important source of cultural logistics phenomena.

The inheritors obtain the exhibition or exhibition information as soon as possible through recommendation from superiors or mobile networks, and then take their various works to the exhibition venue.

Some inheritors even take their works to participate in overseas exhibitions and exhibitions.

Intangible cultural heritage products of various categories from all over the country are displayed in the same place at the same time, providing inheritors with sufficient opportunities to sell their works.

For the inheritors participating in the event, the expo provides an opportunity for everyone to exchange and learn.

This kind of "learning" is often a reference to the patterns.

The inheritors will refer to each other to learn and produce varieties that are conducive to sales.

We may find Southeast Coastal New Year paintings on the stalls of Neiqiu Shenma, paper-cutting patterns in northern Shaanxi on paper-cutting stalls of ethnic minorities in the southwest, and even foreign-style paper-cutting have been "circulated" to the works of China inheritors.

Among the works, regional cultural characteristics are ignored.

For consumers, the exhibition provides them with great purchasing options, and intangible cultural heritage from any region may appear in buyers 'homes.

For works with folk connotations, consumers do not understand the cultural connotations or even know the names.

The cultural logistics at the expo makes intangible cultural heritage lose its regional meaning and become handicrafts simply placed at home.

Cultural homogeneity

A major result of the phenomenon of cultural logistics is the problem of cultural homogenization.

Events such as the Internet, expos, and farmers 'migration have directly changed the way of inheriting intangible cultural heritage, making some intangible cultural heritage types widely distributed in our country look stereotyped.

The inheritance of tradition is to learn intangible cultural heritage skills under the guidance of ancestors, and consciously accumulate folk cultural knowledge related to intangible cultural heritage in rural life, forming a dual knowledge system of the inheritor's "skills" and "memories".

Today's intangible cultural heritage is not only taught by masters, but the Internet has become an indispensable learning method for young inheritors.Diversified knowledge is beneficial to the inheritors to broaden their horizons and enrich their knowledge system, but if it is not properly guided, the so-called "learning" will become "transfer and application" without discrimination.

Especially for inheritors in the field of traditional handicrafts, the vast majority of young and middle-aged inheritors have the experience of gaining creative inspiration by looking for image resources on the Internet.

There are three main ways for inheritors to "graft" online resources in their works.

One is to apply intangible cultural heritage images from other regions or fields into their own works.

Two cultural styles that are thousands of miles apart often appear in the same place; The second is to transform pictures such as scenic spots into our own works.

We can see that scenic spots and historic sites are constantly reproduced in different techniques.

These two phenomena directly lead to the loss of regional cultural characteristics of intangible cultural heritage.

There is also a type that reproduces famous paintings from ancient and modern times, at home and abroad with their own inheritance skills, striving to be realistic, and there is a trend of imitating the academic school.

The common result of the above three new models of intangible cultural heritage creation is that the appearance of intangible cultural heritage across the country tends to be homogeneous.

In the long run, foreign styles will be frequently used, and local traditions will be abandoned, resulting in the weakening of local intangible cultural heritage characteristics.

During the 2015 "Hometown of Chinese Folk Culture and Art" paper-cutting exchange and exhibition activity, we saw that similar creative themes and similar language styles appeared in the creations of 27 "Hometowns of Paper-cutting Culture" across the country, and some works were almost impossible to distinguish regions from images.

Cultural evolution

Regardless of ancient and modern times, cultural evolution is inevitable in the process of cultural inheritance and development.

Compared with the past, today's cultural evolution occurs more suddenly, changes faster, and external factors are more prominent.

Internet information and farmers 'movements are all having an impact on cultural evolution.

Cultural homogeneity caused by cultural logistics is itself a phenomenon in intangible cultural heritage.

In addition, the changes in social customs, etiquette, and festivals are more significant.

For customs and rituals that have been successfully applied for intangible cultural heritage, people are consciously and orderly passed on in accordance with traditional models, while customs that have not yet entered the intangible cultural heritage list are being simplified.

The inheritance of intangible cultural heritage by inheritors is also changing.

Inheritors have less and less mastery of "memory", and the single "skill" learning leaves the integrity of inheritance missing.

For example, many patterns of traditional paper-cutting in northern Shaanxi are used in witchcraft: "Sweeping Lady" is hung in the courtyard to avoid sunshine and waterlogging,"melon seed doll" is posted on the door to ward off evil spirits and block ghosts, and "Meeting doll" is posted on the courtyard water tank to pray for heaven and rain...

Nowadays, people rarely make wishes by twisting dolls.

Paper-cutting that has lost its practical value has evolved into patterns that appear in paper-cutting creation, fundamentally changes the purpose of production, usage, and hanging methods.

Many inheritors grew up in rural areas and now basically live and work in areas above the county level.

Even if they master traditional folk customs, they cannot reproduce them in urban life.

Farmers move from rural areas to cities, depriving descendants of the basic conditions for learning folk customs, and the new generation has a "cultural strangeness" towards intangible cultural heritage.

Rural folk customs and beliefs have lost the inheritance group of the younger generation, and the original environment of intangible cultural heritage is no longer.

Young people inherit only skills.

The fact of "emphasizing skills" and "neglecting memories" has become a major phenomenon in the evolution of intangible cultural heritage.

Cultural "new" utilitarian

Folk art or folk rituals in traditional rural life have actual folk functions or belief functions.

Generally speaking, seeking longevity for children, seeking wealth and blessings, and exorcising evil spirits and eliminating disasters are stable and unchanging "cultural utility" themes of intangible cultural heritage types with folk functions.

The patterns we are familiar with, such as New Year paintings, paper-cuts, masks, silver ornaments, embroidery, and architectural colored paintings, are all made for this utilitarian purpose, and their value is realized in the three levels of folk beliefs, folk rituals, and daily necessities.

Utilitarianism drives the use and inheritance of intangible cultural heritage, which is the fundamental driving force for the inheritance of intangible cultural heritage in the native environment.

However, in today's Internet age, scientific knowledge is widely popularized, and the channel for solving problems is no longer single.

Even people living in rural areas, their living habits are getting closer and closer to cities.

Intangible cultural heritage has lost its utilitarian inheritance power, and inheritance becomes a problem.

Entering the era of cultural heritage, the selection of intangible cultural heritage inheritors has become a new driving force to stimulate inheritance.

This is the "utilitarian nature" of the new era.

Some inheritors strive to achieve higher levels of inheritance, bringing them higher honors, more exhibition opportunities, more prominent reputation status, and ultimately higher prices for their works, which are closely tied to the economic interests of the inheritors.

The non-genetic inheritor selection itself is set up for inheriting intangible cultural heritage.

In some areas, these interests corrupt the original intention of non-genetic inheritor selection.

Non-genetic inheritors become people's interest competition points, creating some inheritance contradictions.

It is difficult for inheritors with excellent skills to be listed on the list and disturbing the normal inheritance order.

Some inheritors 'works have been separated from folk life, and the service objects of intangible cultural heritage have changed.

Therefore, we should create new cultural utilitarianism according to the inherited cultural ecology and inheritors' inheritance psychology, connect tradition with present with new cultural utilitarian value, and promote the healthy inheritance of intangible cultural heritage.

This utilitarianism lies in returning intangible cultural heritage to daily life.

It is concrete and personal.

It cannot be a simple economic benefit or a project-oriented interest stimulus.

Diversified intangible cultural heritage inheritance practices

The living inheritance of intangible cultural heritage is related to the community life of multi-ethnic cultures.

The cultural inheritance of intangible cultural heritage cannot only be protected by projects within the system, but should also be explored sustainably in an open social ecology.

Intangible cultural heritage in the transition period of civilization faces diverse contexts, involving university education, primary and secondary education, and the interaction between universities and community descendants.

Multi-faceted exploration and practice allow intangible cultural heritage to fully enter the Internet era.

The stage of inheritance and development.

Universities and intangible cultural heritage

In 2015, the "Training, Study and Training Program for People Inheriting Intangible Cultural Heritage in China" organized by the Ministry of Culture and the Ministry of Education was launched in 57 universities across the country.

The interaction between universities and intangible cultural heritage or folk culture has begun since the early 20th century.[12] This training has become an excellent opportunity for university education to associate with the inheritance of intangible cultural heritage in the community, allowing universities to once again participate in the ranks of intangible cultural heritage protection.

It also provides opportunities for college teachers and students and community successors to learn from each other.

In this training, the Central Academy of Fine Arts, as the earliest project pilot institution to start training, provided practical method experience for training.

It is a tradition of the Central Academy of Fine Arts to attach importance to folk art education.

In the past fifty years, the Central Academy of Fine Arts established the studios "Clay Figurine Zhang","Face Man Tang", and "Shadow Puppet Road"; in the 1980s, the Central Academy of Fine Arts established the Department of Folk Arts, inviting the "Flower Cutting Lady" of northern Shaanxi to give lectures at the academy; Entering the new century, the Central Academy of Fine Arts established the first intangible cultural heritage research center in China, becoming the earliest university to carry out intangible cultural heritage education.

During the training process, the Central Academy of Fine Arts combined years of teaching and research experience to explore the training experience of "three knowledges" and "three modernizations".

"Three knowledges" mean "culture must be informed","skills must be informed", and "development must be informed".

The "three modernizations" are proposed on the basis of the "three knowledges", namely "normalization, interaction, and professionalism." "Three knowledges" make inheritance more traditional "and advocate the intangible cultural heritage of the new era to" inherit for the nation and innovate for life "." Three modernizations "make intangible cultural heritage training closer to the actual situation of community inheritance and make inheritance closer to the living nature of intangible cultural heritage.

The "Regional Forum on the Development of Postgraduate Degree Courses on Intangible Cultural Heritage in the Asia-Pacific Region" held by UNESCO in Bangkok particularly emphasized the role of universities in regional intangible cultural heritage protection.

The training allows universities to directly participate in the actual combat of solving the problem of cultural heritage inheritance in grassroots communities, and once again allows universities to seriously observe and think about intangible cultural heritage inheritance issues in communities.

Community intangible cultural heritage

The living inheritance of intangible cultural heritage in multi-ethnic communities is the foundation for the protection and sustainability of intangible cultural heritage.

Rural communities are the spiritual and emotional source of regional cultural development and the ecological environment on which intangible cultural heritage depends.

The process of inheritance and practice must pay special attention to community groups.

After the training, the Central Academy of Fine Arts asked college students to conduct a "community return visit", that is, return to the community where the inheritors lived to inspect the intangible cultural heritage reality and discover training problems.

The return visit has become a successful experience widely promoted in training universities.

College students in relevant majors learn about intangible cultural heritage in the community, and apply their skills to their own creations; inheritors discuss their creative ideas that are difficult to achieve with college students, cooperate to complete the training and graduation works, and form an interactive and mutually beneficial training model.

In addition, the Central Academy of Fine Arts has set up practical teaching bases in ethnic minority rural communities such as Jianchuan and Guizhou, allowing college students to directly enter the communities to learn intangible cultural heritage skills, and carry out the practice of "art intervention in rural areas" at the teaching bases.

Community inspections are an inescapable step for universities to study intangible cultural heritage and propose inheritance methods.

It is necessary for us to solve community problems in the community, test and improve training experience on a community-based basis, and explore and discover intangible cultural heritage.

Effective methods.

In addition, the cultural awareness of community intangible cultural heritage is also the core content of community inheritance people's participation in practice.

In addition to colleges and universities 'attention to community intangible cultural heritage, people in the community should also be encouraged to conduct local basic field surveys and organize intangible cultural heritage data to promote the community inheritance of intangible cultural heritage.

Juvenile intangible cultural heritage

In today's rapidly changing culture, for the younger generation who is "culturally unfamiliar", educational inheritance in cultural heritage sites is a way that cannot be ignored.

During the traditional farming society, intangible cultural heritage was passed down to children's skills, and the culture passed down from generation to generation began in childhood and youth.

Adolescence is the best stage to accept handicrafts and cultural enlightenment.

We should explore intangible cultural heritage regional cultural resources and artistic resources and carry out cognitive practice and enlightenment education among teenagers in an appropriate way.

The "National Rural School Art Education Experimental County" work carried out by the Ministry of Education combines rural school art education with community cultural construction and with the inheritance of excellent national culture, allowing rural students to enjoy fair and high-quality art education while also promoting local intangible cultural heritage.

Juvenile inheritance; The "'Dandelion Action 'Children's Art Education Special Project "in the" Achievement of the Future Project "of the National Arts Education Commission connects folk art resources with art education, providing us with experience and methods for thinking about the popularization of intangible cultural heritage in children's art education.

Compared with the previous century, the ancient cultural memory is at the critical juncture of rupture; compared with the previous generation of inheritors, the cultural memory of young inheritors is gradually declining.

Many intangible cultural heritage traditions still exist in communities of different ethnic groups.

We should make good use of folk customs and festivals to allow children to participate in artistic experience in the practice of "skills", and deepen their involvement in intangible cultural heritage in the acceptance of "memory", so that intangible cultural heritage can be preserved.

Continue.

Juvenile intangible cultural heritage is related to a longer future.

Allowing teenagers to participate in regional intangible cultural heritage interactions and teaching every lesson of national culture to teenagers in schools is something that requires the attention of the whole society.

Overseas spread of intangible cultural heritage

China has 40 projects ranked among world-class intangible cultural heritage, ranking first in the world in the total number of projects.

It is a veritable "intangible cultural heritage country." The world's understanding of China is increasing, and foreign countries are paying more and more attention and enthusiasm for China's intangible cultural heritage.

Expanding the influence of China's intangible cultural heritage in the world is an issue that needs to be raised in the Internet era.

The Confucius Institute was established in 2004.

In the past ten years, Confucius Classrooms have spread to 125 countries and regions around the world; official or non-governmental overseas cultural exchange activities organized by the Overseas China Cultural Center of the Ministry of Culture and the China Association for Foreign Cultural Exchanges have continued one after another.

The Internet connects every point in the world, and China's intangible cultural heritage also needs to break domestic boundaries to be promoted and spread overseas.

Overseas promotion of intangible cultural heritage should be distinguished from domestic intangible cultural heritage inheritance work.

The purpose of domestic intangible cultural heritage inheritance is to inherit culture and skills within the community, while foreign intangible cultural heritage promotion focuses on individual experience and cultural awareness.

The overseas dissemination of intangible cultural heritage cannot be as good as the inheritors are required to master the culture and skills of intangible cultural heritage.

Instead, it spreads China's excellent culture overseas under the background of cultural equality, cultural respect, and cultural tolerance, and uses China's intangible cultural heritage.

International cultural exchanges, especially those cultural traditions that are both at home and abroad, can become a cultural medium for communicating between the two countries.

Take paper-cutting as an example.

Paper-cutting is the world's intangible cultural heritage of China.

It is common in China and also exists in Japan, the United States, Germany, Greece, Mexico and other countries.

Paper-cutting is both familiar to foreigners and unique to China.

In the process of promoting paper-cutting overseas in China, paper-cutting can not only be used as a common cultural background, but also promote China paper-cutting to the world.

In the world promotion of paper-cutting, the Central Academy of Fine Arts has been cooperating with different countries in paper-cutting creation on cultural heritage themes for more than ten years, and has a dialogue with the world through paper-cutting as a cultural heritage method.

This process not only promotes the living inheritance of paper-cutting in rural communities, but also promotes the world's recognition and acceptance of China's paper-cutting art.

[13]

Conclusion: The era of creative inheritance

The popularization and daily use of intangible cultural heritage has promoted the resurrection and reproduction of traditional culture.

The arrival of the Internet era has brought traditional culture and modernization to face a new round of conflict and integration in terms of time tension.

Since the New Cultural Movement in China, dialogue and confrontation between tradition and modernization have accompanied each other to this day.

The roots of time meaning of different ethnic groups almost represent their deepest human values, world outlook and cultural beliefs on survival.

Intangible cultural heritage is brewing new trends of the times and cultural waves in the mixed generation of time consciousness.

Objective reality requires us to accept this dual era of civilization, accept the challenges presented to us by this changing era, and use creative methods to face different ethnic groups, Intangible cultural heritage issues in different regions, different types, and different situations.

Discover a folk China from the living cultures of villages of different ethnic groups and discover our ancient China stories.

Faced with the complementary symbiosis of tradition and modernity, creative inheritance has become our unavoidable choice.

[1]Research Group on "Research on Accelerating the Construction of Public Cultural Service Systems","Research on the Protection and Development of Traditional Villages in the Process of Urbanization-Based on an Empirical Survey of Five Provinces in the Central and Western Regions","Research on Socialism", No.

4, 2013.

[2]Feng Jicai,"Ancient villages have never been lost so fast", Wen Wei Po, March 11, 2015.

[3]Cai Wu,"Milestone", People's Daily, March 2, 2011.

[4]Ye Peng,"Research on the Protection Mechanism and Realization of China's Intangible Cultural Heritage Based on the Integration of Technology and Culture", Ph.

Thesis, Wuhan University, p.

48.

[5]"Village-to-Village Access" is a systematic project of the country, which includes roads, electricity, domestic and drinking water, telephone network, cable TV network, Internet, etc.

[6]Zhang Chidong,"Implementing the" Village-to-Village Network Consulting Project "to Accelerate the Step of Promoting Agriculture through Science and Technology-Ideas on Promoting Rural Construction through Informatization", Science and Technology Forum, No.

2, 2011.

[7]Data source: China Internet Network Information Center (CNNIC)"The 38th Statistical Report on Internet Development in China", release time: August 3, 2016.

[8]Data refer to Yang Liyuan,"Comparison and Enlightenment of the Flow Mechanisms of the Three Major Population Migrants after the Founding of the People's Republic of China","Exploration", No.

3, 2007.

[9]Data source: National Bureau of Statistics 2005 National 1% Population Sample Survey Main Data Bulletin

http://www.stats.gov.cn/tjsj/tjgb/rkpcgb/qgrkpcgb/200603/t20060316_30326.html。

[10]Data source: National Bureau of Statistics 2015 Migrant Workers Monitoring Survey Report

http://www.stats.gov.cn/tjsj/zxfb/201604/t20160428_1349713.html。

[11]Edited by the Research Office of the State Council,"Survey Report on Migrant Workers in China", China Yanshi Publishing House, April 2006, p.

71.

[12]For the detailed development context of "Universities and Intangible Cultural Heritage", please refer to Qiao Xiaoguang and Dong Yongjun's "Universities and Intangible Cultural Heritage·Our Path and Mission-The Development and Practice of Folk Art and" Intangible Cultural Heritage "at the Central Academy of Fine Arts","Art Research".

[13]Qiao Xiaoguang,"Telling the World's Story with China's Paper-Cut", Central Academy of Fine Arts Art.

com.

Visit the website: www.cafa.com.cn/comments/? N=9138, visit time: December 15, 2016.

This article is published in Sun Yat-sen University's "Cultural Heritage", 2017, No.