[Huang Yonglin] Cultural economics interpretation of the characteristics of intangible cultural heritage
Abstract: The foundation of the development of cultural industries is culture.
Without rich cultural resources, the development of cultural industries cannot be possible; the driving force for the development of cultural industries is innovation.
Without innovation, cultural industries cannot be vital.
The characteristics of "materiality","life","presence","canonization" and "diversity" of intangible cultural heritage not only provide rich high-quality resources and potential for the industrial transformation of intangible cultural heritage resources.
Economic value, broad market prospects, high-quality brand support, but also provide reference for the development of the cultural industry on the pursuit of industrial goals, innovation mechanisms and development strategies.
Keywords: Intangible cultural heritage; cultural economics; characteristics; industrial development Author profile: Huang Yonglin 1958-), male, from Xiantao, Hubei Province, Doctor of Literature, professor and doctoral supervisor of Central China Normal University, director of the National Cultural Industry Research Center, vice president of China Folk Society, president of China New Literature Society.
Fund project: Phase achievement of "Research on Digital Protection and Dissemination of Intangible Cultural Heritage", a major project of the Key Research Base of Humanities and Social Sciences of the Ministry of Education, project number: 16JJD860009).
Today, the characteristics of "culture of the economy" and "economy of culture" are becoming more and more obvious.
Cultural economy is a market behavior that uses culture as a resource, carrier and means to consciously inject cultural connotations into economic activities and economic behaviors, pursuing high-quality economic operation and sustainable development as the ultimate goal.
As a new economic form, the cultural industry is regarded as a "sunrise industry" in the new century.
It has become a new growth point of the world economy and an important pillar industry of the national economy in developed countries.
As an important part of China's excellent traditional culture, intangible cultural heritage has become a new favorite in the development of China's cultural industry with its rich resources, broad content and diverse forms, and plays an increasingly important role in promoting the development of China's cultural industry and economy.
This paper will analyze the basic characteristics of intangible cultural heritage and its importance and role in promoting the development of cultural industries from the perspective of cultural economics, and provide theoretical support for the industrial development of intangible cultural heritage.
1.
The "materiality" characteristics of intangible cultural heritage and the transformation of cultural industry resources
Cultural resources refer to a variety of resources that people use or can use in cultural production or cultural activities, including material materials and spiritual materials.
These materials have cultural attributes and are the crystallization of people's science, technology and labor wisdom...
Cultural resources are actually economic resources.
Human economic activities are conscious and purposeful activities.
Cultural factors have penetrated into them from the beginning, and all cultural activities themselves also contain factors of economic activities.
Intangible cultural heritage and cultural products not only show the penetration of cultural elements into general economic goods, but also reflect the dual fact that cultural elements are expressed through product forms.
The economic value of intangible cultural heritage is to transform intangible cultural heritage cultural resources into cultural capital, cultural needs into cultural supply, and cultural spirit into cultural productivity through innovation, serving the development of modern cultural industries.
1) The relationship between "tangible" and "intangible","materiality" and "immaterial" of cultural products.
Cultural products can be divided into tangible products and intangible products according to the physical classification paradigm, and the corresponding cultural heritage is also divided into two categories: material cultural heritage and intangible cultural heritage.
Although the classification of "tangible" and "intangible" and "materiality" and "non-materiality" of cultural products has always been debated in academic circles, most people believe that pure "intangible cultural products" and "tangible cultural products" do not exist, because any intangible cultural product can only be reflected through material carriers, and any tangible cultural product cannot be regarded as a cultural product if it does not embody the human spirit.
It is precisely because the nature of human cultural spirit questions the meaning of cultural products that matter becomes sacred; it is precisely because the human cultural spirit has the carrier of matter that it can exist and spread.
From the perspective of cultural economics, the "tangibility" and "materiality" of cultural products are necessary conditions for their value generation.
Since "intangible cultural heritage" is named "intangible" cultural heritage, it often makes people think that it is an intangible, pure, and spiritual existence that has nothing to do with matter.
This is essentially a misreading.
As mentioned above, there is no intangible cultural heritage that is completely separated from material carriers, because the "immateriality" of intangible cultural heritage needs to be reflected in the form of "materiality", and its naming "immateriality" mainly emphasizes the subjectivity and importance of spiritual thoughts, beliefs and special skills contained in the material form.
In fact, without material as a carrier, the spiritual thoughts, special skills and skills contained in intangible cultural heritage cannot be concretely presented.
Why should cultural heritage be divided into tangible cultural heritage and intangible cultural heritage? This mainly emphasizes the differences in the existing forms and protection priorities of these two cultural heritage: "Material cultural heritage emphasizes the material existence form, static nature, non-renewable and non-inheritable nature of the heritage, and protection also mainly focuses on the restoration of its damage and maintenance of the status quo; Intangible cultural heritage is living heritage, focusing on inheritability, especially the inheritance of skills, technology and knowledge), highlighting the human factor, human creativity and human dominant position." In short, material cultural heritage is a cultural presentation that has been solidified by history, and intangible cultural heritage is a living culture that lives in real life and is still being passed down.
2.
The relationship between "materiality" and "intangible" of intangible cultural heritage
Regarding the relationship between "materiality" and "intangible" of intangible cultural heritage, Wen Jiabao pointed out: "Intangible cultural heritage also has materiality, and the intangible and materiality of intangible cultural heritage must be combined together.
Materiality is cultural image, and immateriality is cultural context.
Human civilization cannot be born without cultural images, and cannot be passed down without cultural context.
There is no literary image, no body, no cultural context, no soul.
Culture and culture must be transformed through culture, and transformed through culture.
The two must be well combined.
Only by passing down from generation to generation can human civilization be continuously enriched and developed; only by mutual exchanges can cultural relics be transformed into." Specifically, the "materiality" of intangible cultural heritage is concentrated in various instruments, tools, objects, finished products and related places, especially in the production materials and related carriers; the "intangible" of intangible cultural heritage mainly emphasizes the spiritual thoughts, beliefs, and special skills and skills reflected in intangible cultural heritage.
Only by the organic combination of "materiality" and "intangible" can the actual intangible cultural heritage be formed.
There is no distinction between tangible and intangible, material and intangible, but only for the needs of protection and research, in order to emphasize their respective key points.
3) The significance of "material" resources of intangible cultural heritage to the development of cultural industries
The production of cultural products is both an ideological activity and an economic activity.
The reason why the above first fully demonstrates the "materiality" of intangible cultural heritage is to emphasize the importance of its "materiality" to the development of cultural industries, because the presentation of cultural industries is mainly material products and services.
If intangible cultural heritage does not have "materiality", its economic value of the cultural industry will not be realized.
The cultural industry value of intangible cultural heritage is reflected in the material products formed through people's use and creative transformation of spiritual thoughts, skills, technology and knowledge.
This creative transformation process is a process of transforming spirit into matter in which spirit and matter are organically combined.
This is also a process in which a person's intelligence and talent are combined with the production of things to produce economic value.
The "materiality" of intangible cultural heritage resources is the basis and prerequisite for their transformation into cultural industry development resources.
Without the creative transformation of spirit into material, intangible cultural heritage cannot realize its economic value.
For the cultural industry, there are three main ways for the "material" resources of intangible cultural heritage to be used for industrial development: First, directly use intangible cultural heritage productive projects for development.
It is mainly developed using intangible cultural heritage projects such as traditional art, traditional skills and traditional medicine, because the skills and skills contained in them are mainly reflected through specific material carrier products), and they are presented in material form and are recognized by people., spread and even used, especially because the practical performance of their products produces economic benefits, can they continue naturally.
Such intangible cultural heritage projects can realize their economic value through innovation and improvement and then directly entering cultural production.
Second, use other carriers to carry out transformative development of some intangible cultural heritage projects.
It is mainly traditional folk literature and folk intangible cultural heritage.
Most of them are passed down by word of mouth and cannot directly form tangible cultural products.
Their "materiality" is concentrated in the text materials recorded on these intangible cultural heritage.
For this kind of intangible cultural heritage projects, they can be converted into books and audio-visual products through editing, publishing, and display, or these cultural heritage resources can be adapted and developed into film and television animation products with the help of modern film and television media.
Or combine with the tourism industry to form new tourism projects to realize their economic value.
Third, transform the economic value of intangible cultural heritage cultural space resources.
This is mainly reflected in the economic benefits achieved by the integration of cultural space with other industries, such as integrating with the exhibition industry and tourism, and realizing its economic value through relevant tickets, souvenirs, etc.
Economic value is an important reflection of the value of intangible cultural heritage in the times.
The economic value of intangible cultural heritage is reflected not only in the direct income earned from the operation of various intangible cultural heritage products with materialization characteristics, but also through intangible cultural heritage.
Indirect income earned from heritage service projects.
It is worth noting that in the process of realizing the economic value of intangible cultural heritage resources, due to the huge influence of the market economy and modern media, whether the adaptation of heritage similar to folk literature will solidify the storyline and lose the vitality of folk literature requires further research.
Inheritance, and whether traditional festivals will cause the loss of cultural connotation in tourism performances.
2.
The "living nature" characteristics of intangible cultural heritage and the pursuit of cultural industry goals
Intangible cultural heritage originates from the needs of life, is closely related to the lives of the people, and is an important part of their production and life.
It is often presented in the form of production and lifestyle.
Intangible cultural heritage shows this kind of "life" characteristics in the process of creation and dissemination reflect the strong "purpose" and "practicality" characteristics, which provides the potential for exploring cultural significance and reflection on the purpose of cultural industry development for the industrialization of intangible cultural heritage.
1."Living" Characteristics of Intangible Cultural Heritage
Intangible cultural heritage is culture and life.
From a humanistic perspective, the cultural elements contained in clothing, food, housing, and transportation in civil society involve many complex factors such as production, life, and natural ecology.
The intangible cultural heritage rooted in people's lives comes from the simplest, most common and simplest daily life needs of the people.
It penetrates into all aspects of people's society, reflects the people's joys, sorrows, and aesthetic psychology, and is related to social life, production, religion, beliefs, festivals and other activities are inseparable.
Whether intangible cultural heritage is in the form of direct spiritual production or products produced by craftsmanship, it is an organic part of people's lives and is deeply integrated into their production and life.
In the traditional agricultural civilization society, the fundamental reason why intangible cultural heritage can be produced and passed down is that in the social context at that time, intangible cultural heritage was extremely closely related to people's real life, and people's social life needed these intangible cultures, and these cultures can gain their wide recognition and have positive effects on their social life.
The people are not only producers of intangible cultural heritage, but also consumers and disseminators.
They often do not make a living by producing and inheriting intangible cultural heritage, but as an integral part of their emotions.
Therefore, the living needs of ordinary people create intangible cultural heritage.
Intangible cultural heritage is synchronized with the daily life of ordinary people and with their daily needs, reflecting the distinctive purpose of creation of "culture for life".
The reason why intangible cultural heritage with extremely distinctive "life" characteristics is called culture is because it contains extremely rich cultural connotations in the extremely ordinary life of the people.
For example, folk literary and artistic activities aimed at spiritual inheritance, such as folk literature, traditional music and art, are widely spread in the daily lives of ordinary people.
They express their understanding of the relationship between man and nature and society in a unique way.
Value judgment on a series of perceptions such as truth, goodness, and beauty; And those artisanal activities with the direct purpose of material production, such as traditional handicrafts, traditional medicine, etc., although they mainly produce products in material form, they embody people's ingenious and unique skills, conveying people's understanding of nature, geography and simple humanistic values.
However, the cultural and economic characteristics of "life","purpose" and "practicality" of intangible cultural heritage are often ignored by us when we take it for granted.
These deep-seated and most fundamental characteristics are precisely the prerequisite for the existence and development of intangible cultural heritage, and it is also the principle that must be followed for the development of cultural industries.
2) The significance of the "living nature" characteristics of intangible cultural heritage to the development of cultural industries
The "living nature" characteristics of intangible cultural heritage are reflected in its content by paying attention to real social life and being close to the public in its form.
From the perspective of cultural and economic resources, it not only provides rich and colorful close to life for the development of the cultural industry.
Content resources, but also provide reference for building art forms that are popular with the public.
From the perspective of the pursuit of the purpose of the cultural industry, the cultural and economic principles of "purpose" of cultural production and "practicality" of products reflected by the purpose of "creating for life" of intangible cultural heritage are important for the development of modern cultural industries.
It provides a basis and reference for the purpose of serving people's lives and pursuing the "practicality" value of products.
In modern society, with the increasing demand of the public for cultural products and services, some intangible cultural heritage projects and products enjoyed by the upper class in traditional society are now brought into the daily lives of ordinary people through the development of cultural industries., meet the needs of the public.
For example, Jingdezhen porcelain firing technology, especially the porcelain fired by the Imperial Kiln Factory, was originally only reserved for royal families and dignitaries.
It was impossible for ordinary people to enjoy it.
Now, Jingdezhen porcelain is gradually entering the context of the development of cultural industries.
Ordinary people's home life.
Similarly, many intangible cultural heritage products that used to be made by hand and were only enjoyed by dignitaries are now used to develop cultural industries and are widely enjoyed by the general public through large-scale mechanized production.
Against the background of developing cultural economy, the daily life and popularization of the production and consumption of intangible cultural heritage has become a fashion and pursuit.
However, the fierce competition in today's market economy and the excessive proliferation of "pan-cultural economy" awareness have had a huge impact on the industrial development of intangible cultural heritage.
In the development of today's cultural industry, in order to pursue the economic value of culture, many people have predatory development of cultural heritage.
Intangible cultural heritage resources are only abstracted into formal participation in the development and utilization of the cultural industry, rather than multi-level life practice.
The industrial development of intangible cultural heritage resources has not formed an organic integration with the actual daily life of the people, and has generated internal motivation, becoming a purely performance product divorced from life, namely "pseudo-intangible cultural heritage." Driven by economic interests and according to market needs, inheritors of intangible cultural heritage continue to find flexibility and adjust between the knowledge, skills and pursuit of modernization they inherit, making some intangible cultural heritage projects perform at the time and location.
In terms of performance, it exceeds the original regulations of the original ecological intangible cultural heritage, resulting in a non-serious and disorderly performance state of "celebrating festivals every day","entering the bridal chamber at all times" and "singing epics everywhere"; In terms of content, various cultural factors are constantly deleted, replaced, reorganized, and even played and spoofed to meet the needs of consumers, thus diluting the spiritual connotation; in terms of form, traditional intangible cultural heritage is often simplified into several elements and characteristics that are easy to grasp and utilize, and it is increasingly becoming a series performance in fixed scenes, losing the artistic charm of the original intangible cultural heritage.
When this intangible cultural heritage resource is utilized by the modern cultural industry, the "life" characteristics are diluted due to the pursuit of "utilitarian".
As a result, intangible cultural heritage industry projects have gradually become objectified and non-historical, and artificial choreography has almost shaped living culture into eternal and fixed performance projects, which is the deep-seated reason for the slow development of the transformation of intangible cultural heritage into cultural industry capital.
Therefore, when using intangible cultural heritage to develop cultural industries, we must pay attention to the "life-oriented" characteristics of intangible cultural heritage, emphasize the development and utilization purpose of "serving life", and provide intangible cultural heritage products and services for people's daily lives to achieve economic benefits.
3.
The "presence" characteristics of intangible cultural heritage and the market development of the cultural industry
American anthropologist Morgan believes: "Humanity started from the bottom of the development ladder and rose from a ignorant society to a civilized society through the slow accumulation of experience and knowledge." The emergence, development and progress of culture not only differentiate people from animals and become social beings, but also become self-aware beings in society.
The interaction between culture and people is a process in which people continue to accept cultural enlightenment, and it is also a process in which people continue to exert their potential and create culture.
In this process, people exist as subjectivity.
In order to realize the industrial transformation and market development of intangible cultural heritage resources, we must conduct in-depth research on the basic form of intangible cultural heritage inheritance and the special status and functions of the inheritors.
Only in this way can we truly give full play to the subjective role of human beings and effectively transform intangible cultural heritage resource advantages into cultural industry capital, realize the value-added of cultural value in providing cultural products and services to the public, and promote the development of cultural industries.
1) The "three forms" and "presence" characteristics of intangible cultural heritage inheritance
From the perspective of the relationship between people and culture, the existence and development of intangible cultural heritage as a way of life is a systematic issue of cultural ecology.
Culture is passed down through people.
From the perspective of cultural integrity, intangible cultural heritage belongs to all nations.
However, from the perspective of cultural specificity, the creators and inheritors of intangible cultural heritage are not necessarily national.
According to the nature and expression of culture, the inheritance of intangible cultural heritage can be divided into three forms: social inheritance, family inheritance, and group inheritance.
Social inheritance refers to the joint participation of many social member groups in the inheritance of a certain type of intangible cultural heritage within a cultural district) or within an ethnic group, showing the common cultural psychology and beliefs that make up this group.
Family inheritance refers to teaching and learning among people with blood relations, which is mainly manifested in handicrafts, traditional Chinese medicine and other industries with strong professional and technical qualities.
Group inheritance can be roughly divided into two situations: one is inheritance between apprentices and apprentices, such as certain performance skills, drama and folk arts, traditional music, etc.; the other is natural acquisition among social groups without teachers.
No matter what kind of inheritance method intangible cultural heritage has, the most important thing about its inheritance is people.
The most characteristic thing is that its activity subject and expression method exist at the same time and place as the inheritor, that is, the "presence" characteristics of the inheritor.
People can intuitively and uniformly see the vital phenomena of a culture and a living cultural heritage.
People can understand the meaning and value of cultural heritage through dialogue, communication, experience and learning with inheritors, and gain real feelings, education and insights from it.
Therefore, there is a unique "symbiotic" relationship between the inheritors of intangible cultural heritage and the life and cultural matters they inherit.
It not only maintains the "physical presence" of the inheritors 'own behaviors, but also effectively practices these cultural activities; it also maintains the psychological "meaningful presence", actively identifies with these cultures, and uses the implementation of these behaviors to organize life, standardize life, and beautify life.
Therefore, as an integral part of human life, intangible cultural heritage is constantly produced and identified with social significance in the creation of "presence", and in the inheritance and continuation of "presence", people continue to inherit, reproduce and reidentify its social significance.
It can be seen that unlike the static state of material cultural heritage, intangible cultural heritage is a dynamic continuation of people's life style.
Being able to adapt to new cultural and ecological environment conditions and gain people's cultural recognition is a necessary condition for its survival.
Intangible cultural heritage is a human carrier, exists and spreads through the form of the body, often realized through oral narration and biological experiences.
This "presence" and "identification" characteristics make the products produced by it have a strong atmosphere of life, profound cultural heritage and strong vitality.
2) The significance of the "presence" characteristic of intangible cultural heritage inheritance to the development of cultural industries
From the perspective of the "presence" of inheritors of intangible cultural heritage, protecting and exerting the enthusiasm of inheritors are extremely important for the protection of intangible cultural heritage and the development of cultural industries.
The "Intangible Cultural Heritage Law of the People's Republic of China" states: "The state encourages and supports the special advantages of intangible cultural heritage resources, and on the basis of effective protection, rationally utilizes representative projects of intangible cultural heritage to develop cultural products and cultural services with local and national characteristics and market potential." In the past, traditional intangible cultural heritage projects were mainly inherited by individuals.
Through individual production and workshop production, due to their small scale, insufficient industrialization, and low efficiency, their inheritance faced an unsustainable situation where young people were unwilling to learn and the elderly had nowhere to pass on.
situation.
How to solve this dilemma, the most important thing is to make these intangible cultural heritage projects "come alive" and let the inheritors "live".
The only way is to take the road of industrialization so that the inheritors can have a sense of gain in the inheritance of intangible cultural heritage, that is, gain a certain amount of economic benefits.
We must actively use the enterprise or industrialization model to develop, rely on the advantages of commercialization and market-oriented operations, combine intangible cultural heritage with the living needs of modern people, create greater economic benefits through cultural products and services, and allow more Intangible cultural heritage inheritors gain more economic benefits from it.
Only in this way can we stimulate the enthusiasm and initiative of the broad masses of the people for the protection and inheritance of intangible cultural heritage, and retain talents for the industrialization and development of intangible cultural heritage.
From the perspective of the "presence" of intangible cultural heritage consumers, the industrial development of intangible cultural heritage has a very broad potential market.
Intangible cultural heritage is a culture that is closely related to life created and passed down by people in a certain area and scope.
Whether it adopts social inheritance, family inheritance, or group inheritance, its consumer entities are the broad masses of the people, and its consumer entities have "popularity" and "presence" characteristics.
Because intangible cultural heritage projects and products are close to life, have a broad mass base, they are deeply loved by the general public in this region and scope.
In modern society, when the production of cultural products is guided by the principle of capital, with the goal of maximizing economic benefits, organized in an industrial form, and produced, distributed and consumed in an industrialized manner and in accordance with commercial rules, then the "popularity" of the cultural market and the "closeness to life" of cultural products are very important.
Today's industrial development using intangible cultural heritage projects and products with extensive "popularity" and "presence" characteristics of consumption can not only complete the effective cycle of living inheritance of intangible cultural heritage, but also satisfy people's new expectations and demands for a life that integrates tradition and fashion through products.
Therefore, in the past, some distinctive intangible cultural heritage projects and products that only existed in some areas have been gradually developed and used in the cultural industry because of their unique content close to life and art, in addition to being loved by local people, and thus have a broader market.
From the perspective of "presence" in the consumption process of intangible cultural heritage, intangible cultural heritage can bring more projects with a sense of "experience" to industrial development.
In the era of commercialization, all cultural products are not only commercial cultural existences, but also real cultural existences.
The modern public has gradually formed a need for a "sense of experience" in the process of cultural consumption.
The "presence" characteristics of intangible cultural heritage inheritance can meet this psychological need of consumers.
For the development of the intangible cultural heritage industry, on the one hand, these "presence" intangible cultural heritage projects are used to develop the cultural industry, so that consumers can gain happiness and education in the sense of cultural experience; On the other hand, it is to enhance the experiential and interactive nature of cultural projects and products, and make products and projects more affinity and attractive.
Especially for projects that combine intangible cultural heritage resources with cultural tourism and cultural exhibitions, it is to improve The experiential nature of the project allows participants to feel the charm of culture through their own experience.
4.
The "canonization" characteristics of intangible cultural heritage and the construction of cultural industry brands
The basic law of cultural development is the accumulation and transformation of culture.
When we examine the accumulation and transformation of culture in history, we will find some relatively stable and long-term intrinsic elements.
This element is cultural tradition.
These cultural traditions constitute the cultural types and characteristics of different ethnic groups.
A nation's cultural brand is formed through the canonization process of continuous integration, adjustment, transformation and creation of the nation's inner spirit and external form.
The traditional intangible cultural heritage that has been passed down to this day in China is an excellent Chinese traditional cultural brand formed in the process of cultural canonization.
These traditional cultural brand resources have reference significance for the formation of modern cultural industry brands in resource utilization and formation mechanisms.
1) Cultural traditions and cultural canonization
What are cultural classics? Cultural classics mean that they have the qualities of combining noble and profound thoughts, perfect form and genius originality.
They are a symbol of the sublimation of human spirit.
For traditional cultural classics, they have never been one-off, once and for all, but a dynamic "canonization" process that continues to be tested by various forces to preserve, add value or reduce value.
The people of every ethnic group live in a certain cultural atmosphere, with certain languages, knowledge, beliefs, etiquette, customs, systems and norms, etc., and through various methods such as learning and teaching, they develop a common cultural psychology and form a unique cultural tradition in the identity of the nation.
Every nation has its own cultural classics, which are formed through the continuous inheritance of this nation's cultural genes and thousands of years of inheritance and mutation.
They fully demonstrate the excellent cultural values and aesthetic ideals gradually formed by this nation in the historical process.
It is an important part of this nation's excellent traditional culture.
For people living in this culture, these cultural classics are the product of the long-term accumulation, continuation and development of their own culture, and are outstanding representatives of their own culture; for people living outside the region, they are human The precious wealth of culture is a cultural heritage of mankind and should be shared by mankind.
2) The process of canonization of intangible cultural heritage
The intangible cultural heritage created, inherited and developed by a nation over its long history stems from the long-term production and life practice of the people of the nation.
It is not only the crystallization of the wisdom and experience of the people of the nation, but also the deep-seated cultural genes of the nation.
Cohesion is also a spontaneous expression of the nation's thoughts and feelings.
It is also a summary of the historical science, religion and other life knowledge of the nation and a reflection of aesthetic concepts and artistic tastes.
It is a microcosm of the cultural spirit of this nation.
The intangible cultural heritage that has been passed down to this day is a cultural classic formed in the process of the people's living culture being continued for thousands of years and the eternal accumulation of quantity.
Moreover, this historical inheritance is still continuing, and this process of canonization is still going on.
Intangible cultural heritage has no final classics, only the canonization process of pursuing classics.
The reasons are: Intangible cultural heritage usually takes oral form as the carrier and is passed down through activities involving group participation and interaction.
Since there is no fixed text and form, each inheritor inherits the cultural genes and traditions, fixed motifs and stylized expressions inherited from generation to generation.
At the same time, he also turns it into his own creation, improvising and changing it at will in each communication process.
Successive inheritance has caused the original oral text of intangible cultural heritage to be improvised and revised again and again.
Therefore, for the inheritance of intangible cultural heritage, there is neither a single inheritor nor the most complete work, that is, there is no solidified classic form that can be recognized as an objective object like literary texts in the classical sense.
The essence of the intangible cultural heritage tradition is that they do not have a completely solidified final entity, but are a living process of continuous proliferation and reproduction through inheritance, and every dissemination is a process of improvement and canonization.
Therefore, the inheritance of intangible cultural heritage will always be just a classic process.
3) The significance of intangible cultural heritage classics to the development of cultural industries.
The result of cultural canonization will inevitably form a cultural brand.
Cultural brands are enterprises and products that have been tested by the market, trusted by consumers, have cultural significance and value, and have unique marks.
With the development of social production and the improvement of people's quality of life, people pay more and more attention to the value of brands.
The more cultural brands a company has and the more deeply rooted in the hearts of the people, the stronger its cultural competitiveness will be.
In a sense, product competition and market competition are brand competition.
Building brands has become an effective strategy to improve cultural competitiveness.
How to make use of the brand advantages of intangible cultural heritage and the mechanism of creating brands through classics to promote brand building in the cultural industry deserves careful study.
First, use intangible cultural heritage brands to create cultural industry brands
Most intangible cultural heritage is a cultural "brand" that has been accumulated through long-term cultural elements and condensed in reputation.
This kind of intangible cultural heritage that can adapt to the times and cultural changes in the process of historical evolution and maintain a relatively stable cultural core has rich potential for exploration and internal vitality.
If appropriate industrialization operations are carried out on the basis of these cultural brands and in-depth development is carried out with the help of the influence of their cultural brands, deeper cultural connotations can be unearthed and better forms can be built.
As a result, new cultural brands can be quickly formed, which will help the rapid development of cultural industry brands.For example, Yang Liping used the original ecological song and dance resources and brands of Yunnan's intangible cultural heritage to develop folk art resources in the company's management method and created the "Yunnan Image" song and dance drama, which was a great success and became a major brand in performing arts.
Zhang Yimou and others integrated the "best in the world" landscape brand of Yangshuo, Guilin, Guangxi, the famous "Sister Liu" folklore and the national folk song cultural brand, and expressed it through modern scientific and technological means to let the natural scenery and humanistic spirit complement each other.
In China, the first large-scale landscape real-life performance project "Impression·Sister Liu" has now become a famous brand in the cultural industry.
The creation of these two brands not only achieves good social and economic benefits, but also plays a dual role in promoting the protection of intangible cultural heritage and the development of cultural industries.
In our country, there are many intangible cultural heritage brands.
For example, those famous and long-standing "time-honored brands","century-old shops" and "old brands" with distinctive local characteristics are old brands that inherit intangible cultural heritage.
The development of China's cultural industry must make full use of these brands, further transform these cultural resources into influence, let the cultural brand resources that have been dormant in the past come alive and move, create strong cultural brands, and serve the creation of cultural industry brands.
Secondly, learn from the canonization mechanism of intangible cultural heritage to create cultural brands
Cultural brands are formed in the process of cultural canonization, and the creation of cultural brands is of great significance to the development of the cultural industry.
my country's cultural industry has just begun.
Shaping cultural enterprises and product brands has become a top priority for the development of my country's cultural industry.
Building well-known brands has become the goal pursued by cultural enterprises.
Brand building is a systematic project and generally goes through operating processes such as "brand planning, brand positioning, quality control, brand communication, and brand protection".
The soul of a cultural brand is the cultural spirit, and the core is product quality.
The cultural spirit is the sublimation of brand quality.
It is the highest realm of a brand.
In building cultural industry brands, we must learn the concept of "focusing on meeting consumers 'needs" in the creation and dissemination of intangible cultural heritage, carry forward the classic spirit of "pursuing excellence and improving excellence" of intangible cultural heritage, and strive to refine and Improve the quality of cultural resources.
The connotation of a cultural industry brand is a living, vibrant and creative cultural construction.
The process of creating the quality of cultural products reflects the innovative spirit of the company.
Cultural concepts and corporate personality characteristics.
The process of brand building is a process of continuous classicalization of brands, a scientific process of refinement and improvement, a process of improving the core competitiveness of brands, and a process of growing together between enterprises and brands.
Therefore, cultural brand building is important for an enterprise.
Say it is always on the road.
5.
The "diversity" characteristics of intangible cultural heritage and the innovative development of cultural industries
Economic development value is an important value form of intangible cultural heritage under the conditions of market economy and consumer society, and is a presentation of the economic benefits of cultural value in the intangible cultural heritage value system.
The foundation of the development of cultural industries is culture.
Without rich cultural resources, the development of cultural industries cannot be possible; the driving force for the development of cultural industries is innovation.
Without innovation, cultural industries cannot be vital.
The realization of the economic value of intangible cultural heritage relies on cultural innovation, and cultural innovation must be based on in-depth study of the ontological characteristics, intrinsic laws and mutual relationships of cultural resources and cultural industries.
Otherwise, cultural innovation will be a blind action.
The richness and diversity of intangible cultural heritage resources provide resource guarantee and innovation possibilities for the realization of the economic value of the cultural industry.
1) Cultural significance of the diversity of intangible cultural heritage
The Universal Declaration on Cultural Diversity adopted by UNESCO in November 2001 emphasized: "Culture has different manifestations in different times and places.
This diversity is manifested in the uniqueness and diversity of the characteristics of the various groups and societies that make up mankind.
Cultural diversity is a source of cultural exchanges, innovation and creation, and is as essential to mankind as biodiversity is to maintaining ecological balance.
The declaration not only emphasizes the rationality of multiculturalism but also points out that the global development of multiculturalism has broad prospects: "Cultural diversity increases everyone's choices; it is one of the sources of development, and it is not only a factor in promoting economic growth, but also a means to enjoy a satisfactory intellectual, emotional, moral and spiritual life.
Cultural diversity is a cultural and ecological environment that is beneficial to the survival and development of mankind.
No matter what characteristics each culture has, it will inevitably have some elements shared by mankind.
The survival strategy of multiculturalism is to integrate multiple cultures as a part of the present and jointly participate in the construction of a world's major culture, forming the ideal cultural situation described by the famous sociologist Mr.
Fei Xiaotong,"each has its own beauty, the beauty is shared, and the world is unified."
The richness and diversity of intangible cultural heritage is reflected in its connection with the people's spirits, emotions, and ways of thinking.
It reflects the unique production and lifestyle, moral concepts, aesthetic tastes and artistic tastes of each ethnic group, and is more manifested as a spiritual, intelligent, and artistic presentation.
This richness and diversity are extremely important for future cultural development.
Rich and diverse intangible cultural heritage is the cultural capital of multiple ethnic groups.
These capitals have both social value of culturology and economic value of transformation into economic capital.
Capital is the driving force of economic activities and the intrinsic driving force of cultural industries and cultural economy.
It can promote the integration of culture and economy.
The transformation of cultural resources into cultural capital can enrich the economic form of contemporary society, change the way culture exists in contemporary society, and bring direct economic benefits to society.
2) Strategies to transform rich cultural resources into cultural industry capital
The significance of economic development of intangible cultural heritage lies in: It can promote the economic development of the places where intangible cultural heritage is owned.
After the fiscal revenue of these areas increases, it will be possible to increase investment in intangible cultural heritage protection funds, so that the publicity of intangible cultural heritage can be expanded and the inheritors of intangible cultural heritage can provide better conditions for life, inheritance, protection, and innovation, so that they can more actively engage in the protection and inheritance of intangible cultural heritage.
In the end, we will achieve a win-win situation between the protection and inheritance of intangible cultural heritage and industrial development.
First, use innovative spirit to transform intangible cultural heritage resources into industrial economic resources
Protection and inheritance are an important way to extend culture, and innovation and creation are indispensable qualities and mentality to inherit and adapt to the development of the times.
Creative inheritance is a kind of cultural genetic and cultural heritage spirit passed on through innovation.
It is to promote the cultural spirit and spirit of the times of the nation and the region through cultural creation, creativity and re-creation.
The key to realizing the economic value of the cultural industry lies in how to transform the effective elements of culture as a whole into products through innovation and creation.
First of all, the development of cultural industries requires creative transformation of intangible cultural heritage resources, extraction of relevant elements from intangible cultural resources, creative reproduction, and finally realization of the material, cultural and labor elements condensed in products through exchange and consumption.
Economic value.
Secondly, the development of the intangible cultural heritage industry is an important way to realize its economic value.
It takes a certain intangible cultural heritage as a blueprint and implements industrial management and commercial utilization of it through imitation or innovative means.
It not only requires some original matters to be market-oriented, but also requires the addition of new elements to the original economic and social components.
Third, the uniqueness of intangible cultural heritage can provide fundamental guarantee for the participation of resource entities and provide an important driving force for the development of cultural industries.
Fourth, the laws of industrial development must be followed in the industrialization and innovation activities of intangible cultural heritage.
In the practice of industrialization of intangible cultural heritage, if intangible cultural heritage resources are to become commodities, they will inevitably be restricted by capital and market rules.
We must establish a sense of legal rules in the market economy and achieve production and operation in accordance with the law to ensure the healthy and sustainable development of intangible cultural heritage industry.
Secondly, use modern technology to transform intangible cultural heritage resources into industrial economic resources
If traditional intangible cultural heritage wants to join the contemporary cultural industry, it needs the transformation of contemporary science and technology.
Marx pointed out: "With the expansion of capitalist production, scientific factors have been consciously and extensively developed, applied and reflected in life for the first time, on a scale that was unimaginable in previous eras." With the development of modern science and technology, many cultural forms that were previously excluded from the economic field can enter the vision of economists and investors and become industrial resources.
A traditional intangible cultural heritage project is a cultural product in the industrial sense only if it is both a cultural product and a technological product.
For example, cultural skills such as manual paper-cutting, painting, embroidery, and carving in intangible cultural heritage only truly become part of the cultural industry when they are in the contemporary cultural industry group.
Before that, they have existed for hundreds of years, and some even thousands of years.
A real cultural industry has never been formed.
Only when technological means such as computer design, digital printing, and machine carving are used in these projects to produce them on a large scale did these traditional cultures form an industry.
With the progress of society and the development of science and technology, the integration of spiritual production, material production and science and technology has become closer and closer.
Cultural industries account for an increasing proportion of the entire social life and production, and their role in society is also increasing.
The relationship between intangible cultural heritage and cultural industries is essentially the cultural relationship of inheritance and protection and the economic relationship of development and utilization.
Intangible cultural heritage must be protected and developed, with protection driving development and development promoting protection.
To effectively connect the protection of intangible cultural heritage with the development of cultural industries, gradually find a junction that takes into account all aspects of culture, economy, and people's livelihood, integrate them into the broader world, and into modern life, we can only transform the rich Intangible cultural heritage resources into advantages and productivity for the development of cultural industries, bringing more economic benefits.
Only then can we truly stimulate the enthusiasm and initiative of the general public for the protection of intangible cultural heritage and the development of cultural industries, and ultimately promote the protection and inheritance of intangible cultural heritage and the development of cultural industries.
(This article was originally published in "Cultural Heritage", No.
1, 2018.
The annotations are omitted.
For details, please refer to the original issue)