[Ma Zhiyao and Liu Zhiying] Memory interpretation of intangible cultural heritage protection and inheritance
Abstract: The protection and inheritance of intangible cultural heritage should be considered from the perspective of memory.
Time, space and inheritors are topics that can never be avoided.
They are specific forms of intangible cultural heritage protection and inheritance.
At the time level, we studied the time nodes involved in intangible cultural heritage and found that intangible cultural heritage with good self-blood production is inseparable from a complete temporal memory model, and the memory of intangible cultural heritage is strengthened through repeated pressure.
Spatial levels, places and objects.
As a memory storage room for certain intangible cultural heritage with weak internal experiences, such as folk literature, it is a better memory storage room than other solidified forms.
Object memory is an indispensable component of intangible cultural heritage memory.
It carries the emotion, identity, experience and significance of the inheritor.
Its better protection and inheritance is also a bargaining chip to continuously strengthen the memory of intangible cultural heritage.
Inheriting people's memory, whether it is an individual or a collective, protecting and inheriting it brings about a kind of empathy thinking, a basis for a fuller understanding of culture, and a leading role model.
The effect of paying attention to the protection and inheritance of intangible cultural heritage memories is slow, but the impact is bound to be profound.
Keywords: intangible cultural heritage; memory; time; space; inheritance individual
The concept of memory first comes to mind the basic psychological process of the storage and use of information content in human thinking.
However, the content stored in memories, how these contents are organized, and the length of time that such memories are preserved are far from a question that can be explained by the human body's own abilities and regulatory mechanisms, but an externally related problem.
In other words, this is a question closely related to the external framework conditions of society and culture.
Maurice Habwah specifically pointed out that memory has external dimensions, which refers to memories of objects, customs, rituals, interactions, language, etc., accumulated in concrete representations such as space, time, behavior, body and objects.
It is vivid and needs to be preserved and protected with the help of human initiative) and object passivity).
It is "equivalent to what is thought", that is, the amount of knowledge of what happened, and is often associated with tradition.
The intangible cultural heritage that "as a vivid carrier of regional culture and emotional experience, through hereditary precipitation and cohesion, displays the historical information, cultural connotations, local care and humanistic emotions nurtured by the place where the performance is performed, and has outstanding memory representations and cultural introversion" is included in the external dimension of memory.
At present, the edge of memory is submerged in the process of infinite growth of knowledge, and the function of memory is morbid expanding.
This function is closely linked to anxiety about memory loss.
The vitality of intangible cultural heritage should have a basic quality that can adapt to changing current conditions and requirements.
The muddy mass culture continues to corrode, shrink, dilute, dissolve and even destroy the memories of intangible cultural heritage.
Intangible cultural heritage memories are faced with dangers such as fragmentation and amnesia.
This requires us to understand the time, space and inheritance subjects of intangible cultural heritage from the perspective of memory and the meaning behind them.
By interpreting time, space and inheritance subjects, we hope to provide certain reference and reference for the protection and inheritance of intangible cultural heritage from the memory dimension.
1.
Memory of time in intangible cultural heritage
When it comes to memories of intangible cultural heritage, time cannot be avoided.
The memory of the present intangible cultural heritage is mixed between the unforeseen future and the bloated past, and has become the scope of our understanding of intangible cultural heritage.
We can only grasp the memory of such a current where information is constantly expanding and squeezing intangible cultural heritage through the past full of faits accompli.
The time in intangible cultural heritage is not only the time of life etiquette, but also the time of seasons.
The former emphasizes the existence and validity nodes of memory, and involves important moments in the life dimension of the inheritor's subject when it is connected with intangible cultural heritage.
Compared with the individual's life process, it is a one-time.
The latter is the triggering node of memory stimulation, which belongs to the time of repeated regression and regular present.
Let's talk about the time of life etiquette and customs first.
"The history of the formation of cultural heritage is determined by a series of fractures." Intangible cultural heritage also experiences various fractures at turning points in time at the memory level.
This kind of rupture is manifested in one-time time nodes such as birth ceremonies, centenary ceremonies, coming-of-age ceremonies, weddings, and housing ceremonies, 60th birthday ceremonies, and funerals in "cold" and "hot" societies.
They are a diachronic time at the level of human life course.
Take the provincial-level intangible cultural heritage cake making skills in Laizhou City as an example.
The folk handicrafts derived from wheat culture have a very Jiaodong flavor in shape and various forms, including sacred insects, moon drums, longevity peaches, jujube cakes, cocoon cakes, and clever cakes.
The author found that it is currently the best project for self-generation of intangible cultural heritage in Laizhou City.
Assuming that other elements are quantitative, the root causes of the inheritance effect are only analyzed from the time nodes related to the flower cakes.
When it comes to building a house, in addition to choosing an auspicious day and a good time, there are also the most lively and important moments, that is, the timing of building beams and throwing beams.
At this time, they will think of various flour sculptures such as pig arches, lion doors, face swallows, and saint insects.
When getting married, the families of both parties will naturally think of making flower cakes as a form of mutual gifts.
For example, the man will give the woman twenty dough peaches made of hair noodles, and the woman will leave ten, and then give the man back with dragon and phoenix, mandarin duck, lion, bergamot, goldfish, butterfly, etc.
dough sculptures of varying numbers.
When a child is born to be 100 years old, many people in Laizhou will think of going to the dough sculptors to purchase a batch of centenary children and hold a grand ceremony to celebrate the centenary.
This ceremony is very popular at present.
According to the old man's recollections, long ago, when children participated in the imperial examination, they would also make noodles persimmon, which means "intermediate examination".
Although the time involved in life etiquette and customs is not like the cyclical cycle of New Year, it is an indispensable and important time node in the life dimension of most people.
Memories activate the inherited intangible cultural heritage memories through these one-time time hubs in the life dimension and conduct time-indexed narratives.
This kind of symbiosis of time memory is because "meaning, importance, reminiscence, etc.
exist in those one-off times, especially in such cases as sudden changes, changes, development and growth or decline, decline, deterioration, etc." Remembering these one-time times guides the significance, important events and memories worth remembering related to intangible cultural heritage.
This kind of mnemonics helps cultivate the subconscious mind that "only the past that is significant will be recalled, and only the past that is recalled will be significant." This subconscious is conducive to the long-term and sustainable protection and inheritance of intangible cultural heritage.
Laizhou Huabo not only remembers memories related to life etiquette and customs through time.
On the other hand, in terms of time memory, one can also think of very clear intangible cultural heritage of traditional festivals.
The temporal effect of traditional festival-type intangible cultural heritage is the integration force within the festival time through memories.
From the time nodes of multiple festivals on the Timeline, some intangible cultural heritage is concentrated on a certain festival.
With the help of hindsight memories, the time-honored memories are pieced together and constructed into the self to continuously embody and present past experiences.
The current time element plays an important role in the protection and inheritance of intangible cultural heritage.
When it comes to the Spring Festival, holy insects, date cakes, and small cakes have become the key words in the memory of the entire festival; on the 15th of the first month, cocoons and cakes are indispensable; on February 2, holy insects will be placed when hoarding; On March 3, the new daughter-in-law needs to bring Yan Yan to her mother's house; when talking about the Qixi Festival, local people naturally recall the scene of using the cakes to knock off the local people of Laizhou to make clever cakes; on the Mid-Autumn Festival, people will think of making moon cakes, moon drums, offering sacrifices to the moon and appreciating the moon, etc.
"Great days evoke great memories.
For certain moments, glorious memories are taken for granted." Although traditional festivals are not "great", they are definitely "glorious".
It "is a common expression of the emotions and wishes of China people in life." Either our young people no longer have "holiday memories", or even if our young people have "holiday memories," they are not pure.
Valentine's Day embodies Qixi Festival, Halloween affects Zhongyuan Festival, and Christmas impacts the Spring Festival.
Our intangible cultural heritage, the memory of our traditional festivals has become indifferent, and we also suffer from the memory space occupied and diverted by external information.
Therefore, the memory of time nodes of traditional festivals itself is part of the condensed structure that carries cultural customs and emotions.
Through periodic cycles, it obtains contemporary displacement and is recognized again, so that the memories of different traditional festivals frequently interact with the present and are often remembered.
Always new, and thus it is regarded as a common cultural factor and is recognized collectively.
At the same time, the memory of intangible cultural heritage time is fleeting.
Remember that intangible cultural heritage not only depends on well-known times such as the first day of the first lunar month and the seventh day of the seventh lunar month, but also gives some time.
That is, holidays give time to festivals.
The time nodes of traditional festivals require people to spend time and time to reminisce and understand.
This is why Mr.
Feng Jicai emphasized that "not having holidays will inevitably directly dissolve the festival culture, and holidays are the primary condition for restoring festival traditions."
Comprehensive consideration, through these "co-dwelling, cultivated, accurately measured and controlled" life rituals and intangible cultural heritage time in traditional festivals, the dough sculptures are recalled many times in the form of memories in time, and they are assisted at time nodes.
Under activation and maintenance, they continue to be rectified, ruminated and strengthened.
At this time, time is meaningful and emotional, which strengthens, makes up and keeps the intangible cultural heritage memories to a certain extent.
This kind of time node strengthens the protection and inheritance of intangible cultural heritage not only beyond time itself, but also spans space.
Even Laizhou people living in other places are not in their original habitat at a certain time.
During the Spring Festival, the 15th Five-Year Plan, etc.
Time nodes, time as an index, will also produce the phenomenon of thinking twice about "relics" during the festive season.
Such people will buy a batch of hot cakes, which is why part of the turnover of some flower cakes factories and factories comes from locals living in other places.
Laizhou flower cakes have become a hot spot in memory with the attention of time.
The more attention they receive, the more social resources rely on, forming a virtuous cycle.
Time relies on the "pressure of repetition" to strengthen our memories.
For example, the Laizhou City municipal Donghai Temple sacrificial activities.
Since the Western Han Dynasty, the people of Laizhou City have formed a unique Sea God culture around the worship of Sea God.
Every year, the villagers 'meetings hold grand worship ceremonies on the 18th of the first lunar month, the 3rd of April, the 13th of June and the 3rd of October.
The days at this time were initially just empty numbers in the algebraic sense, and they relied on thousands of years of repetition in the local area.
Formed a nostalgic complex.
The East China Sea Temple Sacrifice was originally a ceremony for emperors to sacrifice to the sea.
From the Qin Emperor and Han Wu Dynasty to the 16th year of Guangxu in the Qing Dynasty (1890), the last time emperors sacrificed to the sea, a total of 81 times.
Memories of the sea sacrifice inspired by time are implanted into sounds, bodies, facial expressions, body movements, dances, melodies, and ceremonial behaviors.
1486, the 22nd year of Chenghua in the Ming Dynasty), the internal time order of each celebration was determined.
The musicians must follow the time sequence before and after playing the tune, and even the time sequence of placing tables, chairs and utensils in front of the god must follow the rules.
At the same time, each celebration is linked to previous related celebrations.
In this way, each celebration repeats itself in accordance with the same time sequence, just as two consecutive patterns in the field of design are always presented in constantly repeating patterns.
The East China Sea sacrificial ceremony relies on repeated reference methods and regularly recalls the organizational form, thereby repeating relevant celebrations, which helps the ceremony itself build a unity, provides normative and stereotyped action guidelines, and cultivates a sense of ceremony.
Moreover, its more important significance is that historical time is transformed into a non-simultaneous event, and some updates and replacements are given, not only always following the same norms, but also avoiding cultural fall into favor.
The specific manifestation is that as the sacrificial ceremony gradually evolved into a part of the condensed structure, the memory of intangible cultural heritage time did not lack flexibility.
It was manifested in preservation and imitation, as well as in recall and interpretation.
The folk people have given a new interpretation of the sacrificial days of these four Dahai temples based on memories."On the 18th of the first month, thousands of tree buds originate in the sea temple, and the spring breeze spreads all over the world; on the third day of April, the spring tide is like smoke, and hundreds of fish are on the beach; On June 13th, pray for rain to worship the sky, and thunder strikes; on the third day of October, the autumn wind brings fat crabs to the seaside, and the boat is full of fish and shrimp returns in the setting sun." It is this kind of time memory that flies between the two poles of stereotypes and autonomy that forms the protection and inheritance of intangible cultural heritage at the realistic level.
The sacrificial ceremony is carried out in an orderly manner as an organizational form of time memory, consolidating the protection and inheritance of identity knowledge, and thus ensuring the reproduction of identity in a cultural sense.
This effect of using time to remember intangible cultural heritage is manifested in other aspects.
From a local perspective, we can explain why we often see the XX New Year Painting Festival and the fifth XX glutinous rice cake festival.
From the national level, it is clear why the meaningless second June of each year should be set on Saturday as Natural and Cultural Heritage Day.
If the memory of intangible cultural heritage is to be recalled, a time model with complete nodes is needed, and a specific time is used to instantiate it.
No matter whether the memory of intangible cultural heritage time is specific or vague, to protect and inherit intangible cultural heritage, we must remember these intangible cultural heritage times and maintain, store, enrich, and activate important time nodes of intangible cultural heritage.
"Anyone who still hopes for tomorrow today must protect yesterday so that it will not disappear." Using these "inappropriate" times to activate, recall or strengthen the directional memory of intangible cultural heritage in a constantly repeated and current way, and achieve eternal repetition has become a time to be proud of.
The time memory of intangible cultural heritage is nostalgic with a sometimes vague enthusiasm for those moments when the soul of the people is condensed and the years when collective consciousness is condensed and expressed.
2.
Memory of the Space in Intangible Cultural Heritage
Space-time correlation is one of the constants of memory, which always triggers some memory crystallization points in specific space-time.
Memory is awakened in the framework or clues provided by time and space, and intangible cultural heritage is materialized or expanded around me and what I belong to.
Space, as a neutral, de-symbolic category that is replaceable and freely controllable.
It is a shallow experience of abstract data accumulation and homogenization, focusing on empirical evidence, and a lost coding symbol of humanism.
"Places and objects define space", and "Places and objects are both centers of value." Therefore, compared with space, places and objects not only cover their materiality, but also have immateriality.
The core term of space used by intangible cultural heritage sites is: cultural sites are "not only purely material spaces, but also carry the history, experience, emotions, meaning and symbols of people's cognitive space." Therefore, they are more consistent with the concept and category of places and objects.
Based on this, this article adopts the memory of places and objects for spatial memory in intangible cultural heritage.
Location is an important hub for the continuous rumination of intangible cultural heritage memories.
Although places, like time,"do not have internal memories, they are of great significance to the construction of cultural memory spaces." Not only are they able to fix and confirm memories by fixing them in the land of a certain place, they also embody a lasting continuity that is longer than personal and even the fleeting memories of cultures of the era in which artifacts are embodied." In other words, the place itself can become an important midwife of memory, an archive of good memories and brilliant achievements, and may even have a memory beyond human memory.
As the relying relationship between geographical locations and intangible cultural heritage memories, two situations occur in reality.
First, the memories carried by the location are actually the memories of the people living in the location.
There is no unique directionality between the location and the intangible cultural heritage.
All places and now do not become the cornerstone of promoting and promoting intangible cultural heritage memories, and do not help fundamentally maintain their survival and development.
For example, when the author interviewed Zhang Tongjie, the inheritor of Lvcun New Year paintings, Master Zhang said that "the head of the village is cut with ropes, made with south plum paper, painted with Lvcun paper, and made with whips in Chengzibu." At present, only Lvcun New Year paintings are still alive and passed down, and the iconic culture of other villages has long disappeared.
This location is of little benefit to the obstruction of intangible cultural heritage memory forgetting.Secondly, when Laizhou people talk about Maqu Village, they will first recall that it is the place where big sugar is made.
When Lucun is New Year pictures.
When Shahe Town is the birthplace of grass braids.
From this, we can see that the location is in certain intangible cultural heritage.
In terms of maintaining memories, we can only "add to the icing on the cake" but cannot "provide help in need."
Even so, as the core point of remembering intangible cultural heritage-location-it is still very important to return from the location of intangible cultural heritage memory to the location of memory.
To a certain extent, it acts as a preservative for intangible cultural heritage memories, containing the shackles of flexible consciousness.
Moreover, some intangible cultural heritage is closely related to location memories, and even crucial.
For example, take folk literature intangible heritage in Laizhou City as an example, Wenfeng Mountain legend, Wanger Mountain legend, Qianlong Emperor legend under Youyou Mountain legend, Woniu Stone legend, Immortal Cave legend, etc.
The memories flowing at this time show a deep "love for the land" here, which is superior to a series of solidified storage methods such as text.
The specific location where memories are stored becomes the best preservative for intangible cultural heritage memories and the permanent use of fleeting language.
Insurance policy.
Location memory means remembering that the strength of intangible cultural heritage comes from the strength of the intangible cultural heritage itself.
The weaker the internal experience of intangible cultural heritage, the more it requires external support and tangible symbols of existence, and this existence can only continue through these symbols." The original and most important carrier of folk literature is language, and language memory itself is prone to chaos and forgetting based on personal memory alone.
At this time, the location serves as an indisputable witness to a lost and fragile past.
Places memory in Wenfeng Mountain, Wanger Mountain, etc.
is either a place of gratitude or a place of reverence, playing a unique memory function.
This kind of mnemonics brings a heritage rooted in a specific place back to the stage from the background of memory.
Through persistent thinking, discussion and writing about this territory, it completes a series of memorial performances, presenting the accumulated spirit here., reason and taste, reignite the silent civilization and thought, sort out the stacked past and history, inject a special value into Wenfeng Mountain, Wangershan and other places, implying its ancient and significance, and making it appreciate.
Memories of these locations, even attached to some iconic figures such as the legend of Emperor Qianlong in Youyou Mountain, the legend of Zhao Kuangyin in Laizhou, etc., also limit the glorious theme to the unique image of the land, and the state of mind follows The profound and profound of the land, the intangible cultural heritage memories have stepped out of unclear areas and created a clear and distinctive image, which triggered people's "in-depth experience" of their locations, strengthened local identification, and was conducive to the protection and inheritance of intangible cultural heritage.
Let's talk about objects.
The people's love for the earth contains a close relationship with the material world.
They rely on matter.
It also contains the object itself as a way of existence as memory and lasting hope.
People are always surrounded by things of daily or more personal significance that materialize local knowledge such as practicality, aesthetics and comfort.
They reflect the person himself, allowing him to recall his own experience, his own knowledge system, etc.
Thus, the memory of objects always serves as a combination of rapid and decisive awareness of passage and anxiety about the exact meaning of the present.
In particular, the tools, objects, and handicrafts related to practices, performances, forms of expression, knowledge systems and skills contained in the intangible cultural heritage have various manifestations of its memory, ranging from the most insignificant relics and the smallest witnesses to the most grand and noble objects, from the most solemn to the most humble, give it potential memory honor.
Here, we take Da Tang in Maqu Village, Pinglidian Town, county-level intangible cultural heritage in Laizhou City as an example to illustrate the important role of the memory of objects in the protection and inheritance of intangible cultural heritage.
Maqu sugar is a traditional candy that appeared four to five hundred years ago.
It is the main source of life for Maqu people during the winter leisure season and an important cultural memory of the local area.
The taste of Maqu sugar is soft and crispy.
The mellow aroma of maltose and the oily aroma of sesame seeds are mixed together, giving a unique flavor.
Before and after making Maqu sugar, it is necessary to prepare materials, germinate, grind, stir, filter, boil, precipitate, boil, scalding, holding the head, pulling sugar, kneading, adding gas, adding sesame seeds, pulling plates, holding round, and cooling sugar.
More than a dozen processes, such as sugar, are busy from 3 a.m.
to around 10 p.m.
every day, with each person guarding a stall and taking their own responsibilities.
With so many processes and such a long production time, there are naturally a variety of tools.
According to my field investigation, a considerable number of these tools are facing forced replacement.
First, Maqu sugar belongs to traders.
In their early years, they walked through streets and alleys without hawking Zhang Luo.
It was originally gongs and drums, but with development, it evolved into a dialect cry "Big sugar, big sugar, Maqu big sugar, crisp and sweet, so fragrant and delicious." With the advancement of science and technology, shouts have been recorded on electronic speakers and played on a circular basis.
However, today's need for urban civilization construction, Maqu Candy cannot shout when peddling it, but can only be kept silent.
Second, all utensils made of pine and poplar must be replaced with utensils made of 2.0mm crystal steel.
According to reports from many sugar refiners, this replacement will not mention whether the sugar refiners are competent, but only the essence of big sugar-taste is a devastating blow.
At the same time, the change of materials has made the heat difficult to control, and the original fragrance of wood has been lost during the boiling process, making it difficult to make the original taste of big sugar.
Third, the tools for boiling sugar have also changed.
In the past, they were called the first and second knives, which were equivalent to the owner of the sugar shop and the deputy sugar shop.) They led everyone to stir and turn them over to torture together with a wooden shovel.
Now the wooden shovel is replaced with an electric mixer.
This replacement is the hustle of an acquaintance society and the lonely lonely guard of a master nestled next to the machine.
Fourth, due to the intervention of the Forestry Administration, the combustion materials were changed from original pine wood to coal.
Recently, the environmental protection department has advocated that all coal be transformed into environmentally friendly coal, which not only increases costs, but also is difficult to control the heat, which is slowly dissolving the already stormy Maqu sugar.
In addition, there are also replacements for transportation, grinding tools, sugar itself, etc.
Some of these replacements are indeed improvements made for better inheritance of intangible cultural heritage, and have also achieved certain results.
Some improvements are assumptions about intangible cultural heritage that are inevitably superior to the old thinking under the general environment of "new situation, old tradition".
This will appear in the protection and inheritance of intangible cultural heritage.
Some modern and mechanized tools have replaced traditional tools, but the inheritance effect is not as good as before.
On the surface, the equivalent forged by the batch operation of the assembly line, standardized configuration and cold technology replaces the original old objects of Maqu Da Tang.
From the perspective of memory, it invisibly strengthens the subconscious of traditional decline, dispels the sugar maker's emotions about his craft, and erodes the symbolism behind the objects.
This replacement isolates the inheritor from the fragile, difficult to perceive and describe traditional cultural memories of Maqu Da Tang, and cuts off the irrepressible sense of personal attachment between the inheritor and those withered mirror images.
In the end, this substitution and severing will take away the memory of the Maqu sugar in the object it is embedded in.
From point to point, it not only refers to Maqu sugar, but among all traditional intangible cultural heritage objects, their impressions may come from those awe-inspiring distant stories.
Their shape may be the concept of adapting ancestral folk wisdom to nature.
Whenever the inheritors practice, perform, and communicate, these old objects placed together with the inheritors will be transformed into annotations for protecting and inheriting intangible cultural heritage under the power of memory.
Mr.
Duan Yifu once said,"The items owned by a person are extensions of his personality, and devaluing the value of those attachments is equivalent to reducing the value of his life." Various protection and inheritance slogans and policies are constantly implemented, and improvements, restrictions and replacements are carried out based on reasonable and legal dimensions.
In fact, they are improving, restricting and replacing the inheritors 'memories of confidence and attachment to their own culture.
The objects held by the inheritor, those that already have emotions and meaning, are like an ancient family tree with the inheritor's father, grandfather, and brothers and sisters.
If we do not preserve these inheritors 'objects and realize the importance of memory to the inheritors, the louder the slogans of protection and inheritance are and the more we practice them, which will intensify the lament of the inheritors' helplessness and create the inheritors 'sense of loneliness that they have no "close" at present.
This is the reason why sugar maker Sun Congbin said this sigh,"That's it, eat quickly if you want it.
These old-fashioned guys can't do it anymore, and these old household items have been replaced.
Maybe Maqu Big Sugar will really become a dream in three or two years.
When I said this, Master Sun from Maqu Second Village also said,'You are so optimistic.
According to the situation where you don't use this or dare not use that), maybe it will be gone tomorrow.' Alas! This is the situation."
3.
Memory of the subject of inheritance in intangible cultural heritage
It is true that attaching importance to and re-understanding of the memory of time and space connections in intangible cultural heritage is of great benefit to the protection and inheritance of intangible cultural heritage, but the "place of memory" that plays a fundamental role in the memory of intangible cultural heritage is actually the main body of inheritance-individuals and collectives.
He or they are passive holders and active inspirers of intangible cultural heritage memories, acting as spokespersons of the past and transmitters of the future.
With the continuous urbanization, industrialization, and marketization, tools, objects, handicrafts and cultural sites related to intangible cultural heritage have lost their original irreplaceable and natural heritage, and many equivalent things that replace traditional references have emerged.
The traditional foundation embedded in memory is facing overwriting, elimination, and erosion.
If we want to alleviate, get rid of, and even reverse the trend that memories of experiences that exist in the lingering warmth of tradition, silent customs and repetition of ancestors tend to automatically disappear, become lonely, be dusty or forgotten, from the perspective of memory, only focusing on the time-space connection in intangible cultural heritage is incomplete, fragmented, broken and not profound.
It is especially necessary to re-understand the individual and collective memories of intangible cultural heritage.
The individual and collective levels of memory,"From an individual perspective, memory is an aggregate, arising from the individual's division of a wide range of group memories.
From a group perspective, memory is a distribution problem, and the group is within it., a kind of knowledge distributed among its members." As a place that accommodates the collective memories of different groups and groups, the individual accommodates the collective memories from different groups and the unique connections between individuals and them, showing the unique connection between individuals and various collective memories.
Individuals and collectives coexist with each other at the memory level.
Here, the individual memory of intangible cultural heritage is taken as an example to explain the memory of the inheritance subject in intangible cultural heritage.
The individual memory level of intangible cultural heritage can serve as both an active initiator and a passive holder of memory.
Historian Toynbee said: "'There are as many thoughts as there are people.' Everyone must defend themselves." Every individual memory is a unique human file.
This humanity is expressed in each inheritor of intangible cultural heritage in personal life, emotional experience, language characteristics, spiritual journey, personality psychology, social relationships, physical and mental conditions and even memory methods.
However, not everyone's memory is equally important to the protection and inheritance of intangible cultural heritage, which is why intangible cultural heritage inheritors are selected and the significance of different levels of recognition in the memory dimension.
Its complete and profound understanding is a more lasting and profound protection and inheritance of various practices, performances, forms of expression, knowledge systems and skills of intangible cultural heritage.
The way of protection and inheritance is also engraved with humanity due to the depth of individual memory.
consciousness.
Here is an example of the covering skills of county-level intangible cultural heritage seaweed houses in Laizhou City.
Seaweed House is a rare dwelling on the Jiaodong Peninsula.
Most of the seaweed houses are in Rongcheng and Laizhou in Shandong Province.
The whole house has a dark brown color with a gray tone.
The walls are made of blue-gray granite and clear water masonry.
The lattice doors and carved lattice windows are very local.
The seaweed houses in Laizhou are different from the seaweed houses in Rongcheng, which are denser and more exquisite.
This exquisiteness is reflected in the workmanship.
The tomatmaker will stick a section of seaweed out of the house hill, spread it on the gable wall, and cover the fishing net on it.
The roof top and the gable wall are connected together, and there are many styles such as fish scale tops and bench tops.
A tile-wide trench is left where the seaweed is covered at the top of the house and on the roof.
This way, not only can rainwater flow down the trench, but it is mainly convenient for cats to walk in the trench, preventing sparrows from pecking their nests on the edge of the seaweed and damaging the seaweed.
Therefore, Locals call this design the "Cat Road".
Another difference is reflected in cutting eaves.
Small tiles of eight to nine centimeters are placed on the front and rear eaves of the thatched house.
The heads of the tiles are dripping tiles.
The place where the tiles made by a good thatched man connects with the seaweed is as if they have been cut with a sharp knife.
The style is beautiful and applicable.
The entire process of covering the house technology must go through four processes of "stroking, pressing, patting, and brushing".
In the operations of the four processes,"solid, uniform, tight and smooth" must be indispensable.
Therefore, the former seaweed house was a memory of home in the coastal areas of Laizhou.
But now, there are not many of the seaweed house settlements that were contiguous ten years ago.
Some of them either passed away or lived in a foreign country with their children, and their houses have been left empty.
If the roof is not maintained for a long time, a layer of green moss will grow on the shady part of the roof, accompanied by clusters of red tile pines at the tip of the petals, commonly known as "mountain wife nails", which severely damaged her roof and caused it to be unstable in the wind and rain; Part of this is because the large-leaf seaweed on the roof covers the raw material of the seaweed house.) Some places have not been repaired for a long time.
The locals wrapped several layers of plastic film on the basis of the original seaweed roof and then sprayed it with thick cement.
Finally, they covered it with a whole piece of thick tarpaulin to do the next best maintenance.
In fact, the appearance of this seaweed house has been destroyed and exists in name only; quite a few of them have been directly demolished and rebuilt into new red-tiled houses.
There are many reasons for the above-mentioned dilemma of protection and inheritance.
For example, the emergence of offshore farming and changes in the marine environment have led to the extinction of raw materials such as large-leaf moss and second-way moss used as seaweed houses.
The biggest difficulty in protection and inheritance is that as no one follows up on the straw matting skills, the matting masters are getting older, a gap in protection and inheritance has emerged, and the seaweed house has become in jeopardy.
The author first visited two matchers who covered seaweed houses in my hometown.
One of them had passed away for many years when I went, and the other was also unable to communicate due to his advanced age, his hearing deteriorated, and the elderly's low literacy level.
Later, through various channels, we visited seven or eight villages where seaweed houses still existed, and found that those who still can fully recall the seaweed covering skills include Shi Jingbo and Zhang Fashan, the tombstone of Zhuliu Village, Wang Jiahui, the tombstone of Hetao Village, Zhang Jingtong and other villagers in Yujia Village, Haimiao Village.
Through the author's research, these old tomatsmen or residents found that although they had left their original growing environment or transformed their original living environment, they could still clearly recall the entire process, key points, practical tools, taboos, changes in seaweed houses, and places of origin.
The memory of the seaweed house here is irresistible to history, which makes people themselves a place of memory, a "memory bag" that carries intangible cultural heritage with them.
People living in society often use reference frames to record and retrieve memories.
When the coordinates necessary to explain the relevant intangible cultural heritage do not exist or cannot meet current needs, the memory hidden in the human body knowledge itself plays an important role.
role.
Individual memory makes the dead relics still have a contradictory vitality, and this vitality is created by an emotion mixed with a sense of belonging and alienation.
The inner being calls the outer, and the private nature of the spiritual space becomes relative common at a certain moment.
Similarly, through understanding the personal memory of the inheritor, we can form a kind of empathy thinking.
It can allow our protectors and inheritors to understand more about the true psychological composition of the inheritors.
First, after actually understanding it, I found that compared with their hopes for a better life, these old tomatsmen and old residents 'yearning and recognition for modern housing far offset the remembrance of living in seaweed houses.
There is nothing wrong with the general trend of intangible cultural heritage protection and inheritance.
Similarly, no one can deprive living people of the right to yearn for a better life.
A deep understanding of and concern for their personal memories will make the implementation of protection and inheritance policies and methods smoother, more sincere, more realistic and comprehensive.Second, it will have a fuller understanding of the cultural foundation that can be used for continued development of mankind.
British historian and philosopher Theodore Zeldin said: "I pay attention to every individual because I am aware of the infinite diversity of people, and I want to avoid rigid classifications that conceal the unique characteristics of each person..." Third, he can set a lofty role model.
Through the media, people from different industries and fields, he has continuously interviewed and investigated Teacher Zhang Tongjie, the seventh-generation municipal inheritor of Lucun New Year paintings.
The old man Zhang Tongjie has regained his confidence in his craft.
Confidence and enthusiasm.
Zhang Tongjie artist said.
Do you know? Without the constant attention of so many of you, I couldn't continue working.
If you pay attention to me, you don't necessarily give me money or things.
Your attention will make me more motivated.
It means: Because) you, I) stopped painting a long time ago.
You said that my children are promising, and I don't lack the money to sell paintings.
Your attention to me makes) I know that the country values something that the country values, what the country values? Then as long as I can move and do it, I will continue painting.
I can't let the country take it seriously, don't you think?
This kind of care for personal memories plays an indispensable role in building cultural self-confidence.
Over time, it washes away the lonely psychology of cultural self-contempt, subtly strengthens the internal structure of cultural piety, and strengthens the inheritors to carefully preserve them.
I cherish or defend those memories that inhabit them.
The momentum of attention to personal memory will invisibly help the formation of role models, and this withdrawal of role models will make craftsmen become cultural celebrities and be satisfied both materially and spiritually.
It will also form a kind of guidance and vane.
This is also the reason why the subject of inheritance is a passive holder under certain circumstances and becomes the source of memory.
The introversion of the craftsman's personal memory about craftsmanship serves as monuments such as places and objects due to the honor of his role model., guided and driven by a range of extraversion.
4.
Conclusion
To sum up, cultural memory is attached to some objective externalities, while cultural meaning is wrapped in some fixed forms.
If intangible cultural heritage is to be protected and passed down well, then it must have a specific form.
This form may be a specific person, a specific time or a specific space.
The effect of protection and inheritance is often related to the content of these specific forms.
In the memory dimension, the time experienced, the space awakened, and the individual and collective inheritors are the guide and index of intangible cultural heritage.
They will also provide reference for the current protection and inheritance of intangible cultural heritage.
At present, protecting and inheriting good intangible cultural heritage and paying attention to time, space and the memory dimensions of the inheritors will help, correct, stabilize and even innovate protection and inheritance measures.
As for the difficult intangible cultural heritage projects, focusing on the time, space and memory of the inheritors not only completes "hospice care", but may also form a new way of inheritance.
This new method of intangible cultural heritage protection and inheritance requires remembering behaviors and habitual interactions hidden in time series, hidden in the land where you live, hidden in the inheritance of silent objects, and hidden knowledge and experience hidden in the collective or individual bodies.
Then deeply cultivate the awakening and determination to the emotions, symbols, and functions of time, place, objects and inheritance subjects.
In the end, a silent perspective was formed to protect and inherit intangible cultural heritage, a kind of reflexive local knowledge.
This will allow the precarious intangible cultural heritage to form a very stable character, even in opposition to social and political reality, and become "memories opposed to reality," such as the Cultural Revolution, which suffered a decade of catastrophe in a critical context.
The projection of these intangible cultural heritage time, space and inheritors 'memories into reality indicates that intangible cultural heritage can be perceived, controllable and foreseeable.
The introverted understanding guides the external tendency of protection and inheritance, which means selection, concern and personal favor for certain memory content.
These added values make the memory of intangible cultural heritage a systematic memory chain of cultural memory, forming an order and regulation, an imaginary memory building, and a topographic map of thoughts.
(This article was published in "Cultural Heritage", No.
5, 2019.
The annotations are omitted.
See the original issue for details)