[Song Junhua and Ni Shiyun] China's Experience and China's Voice in Intangible Cultural Heritage Protection
Abstract: In response to the practice and experience of intangible cultural heritage protection with China characteristics, the "China Practice in Intangible Cultural Heritage Protection" Forum was held in Guangzhou in June 2019, sponsored by the Ministry of Culture and Tourism of the People's Republic of China and the People's Government of Guangdong Province and hosted by Sun Yat-sen University.
More than 200 experts and scholars from different regions discussed new opportunities and new missions for the protection of intangible cultural heritage in China in the new era from three aspects: summary of practical experience, modernization of intangible cultural heritage and case analysis, demonstrating the "China Experience" of intangible cultural heritage protection and issuing "China Voice."
Keywords: Intangible cultural heritage protection; China practice; practical experience summary; modernization transformation; case analysis
2019 marks the 15th anniversary of China's official accession to the UNESCO Convention for the Protection of Intangible Cultural Heritage.
It is also the 10th anniversary of my country's 25 intangible cultural heritage projects including Cantonese opera being selected into the UNESCO List and List of Intangible Cultural Heritage of Humanity.
China has made a lot of efforts in the protection of intangible cultural heritage, made great achievements, and formed many experiences and practices with China characteristics.
In order to summarize China's practical experience and characteristic practices in the protection of intangible cultural heritage in the past ten years, explain the inherent relationship between intangible cultural heritage protection and the construction of human destiny community and national economic and social development strategy, promote the construction of intangible cultural heritage protection theory system with Chinese characteristics, and put forward the "Chinese plan" in the international intangible cultural heritage protection work, and send out the "Chinese voice".
From June 7 to 10, 2019, the "China Practice of Intangible Cultural Heritage Protection" Forum sponsored by the Ministry of Culture and Tourism of the People's Republic of China and the People's Government of Guangdong Province and hosted by Sun Yat-sen University was grandly held at the Guangzhou City Urban Planning Exhibition Center.
Chen Tong, Director of the Intangible Cultural Heritage Department of the Ministry of Culture and Tourism of the People's Republic of China, and Hu Yan, Deputy Director, attended the forum.
More than 40 universities and research institutions from Peking University, Tsinghua University, China Academy of Social Sciences, Sun Yat-sen University, Tianjin University, Communication University of China, South China University of Technology, Shanghai Academy of Social Sciences, Zhejiang Normal University, Central China Normal University, etc.
More than 200 well-known domestic experts, scholars and representative inheritors of intangible cultural heritage and protection workers from all over the country attended the forum.
This forum consists of three links: opening ceremony, forum and closing ceremony.
The main forum, sub-forum 1 and sub-forum 2 are composed of three forums.
The main forum topic is "China's Practice in Intangible Cultural Heritage Protection", and the two sub-forum topics are "Intangible Cultural Heritage Protection under the National Strategic Vision" and "Theory to Practice, the Fundamental Driving Force of China's Practical Experience." It discusses the practice of intangible cultural heritage protection in China from different perspectives such as summary of practical experience, modernization transformation of intangible cultural heritage and case analysis, showing a new trend in theoretical and practical research on intangible cultural heritage protection.
1.
Summary of practical experience: abide by international conventions and demonstrate China characteristics
Over the past ten years since its implementation, the Convention for the Protection of Intangible Cultural Heritage (hereinafter referred to as the "Convention ") has gradually formed a series of intangible cultural heritage protection mechanisms that highlight the pertinence of protection, strengthen the integrity of protection, and give full play to the role of public protection.
China's intangible cultural heritage protection practice is carried out in compliance with the Convention and combined with the country's special national conditions.
It summarizes China's practical experience in intangible cultural heritage protection and elevates it to a theoretical system with international perspective and China characteristics.
It not only reflects China's fulfillment of its obligations and exercise of its rights under the Convention, but also provides reference for international intangible cultural heritage protection work, promotes cultural awareness and protects cultural diversity.
There were four papers in this conference to discuss and summarize China's practical experience in intangible cultural heritage protection, covering issues such as the analysis of relevant concepts in the Convention and the concepts, methods and paths of intangible cultural heritage protection.
In his speech entitled "Implementation Report and China's Practice: From Community Participation to Diversified Coordinated Action," Bamotrabumo took "World Heritage Application and Implementation" as important topics and explained that the list system of the Convention has actually established a four-tiered international cooperation mechanism of "two directories + one roster + international preparatory assistance application", and analyzed the relationship between obligations and rights of the Convention.
Its report states:"Guided by community participation, with government cultural authorities, community organizations, and professional centers, and experts and professional institutions as multiple actors, this cross-departmental, cross-regional, and cross-institutional synergy mechanism is a legal obligation for the contracting parties.
It has established an institutionalized operating framework that conforms to China's national conditions.
The implementation practices and experiences of relevant parties are also deeply involved in the implementation of the Convention at the local, national and international levels.
Various coping strategies have been accumulated to ensure the survival of intangible cultural heritage." Bamoqubumo also discussed how to view the way in which multiple actors and communities participate in the process protection of intangible cultural heritage.
She used the concepts of "survival" and "process" to analyze living protection, emphasizing that communities are an important part of the true activation and vitality of intangible cultural heritage.
Gao Bingzhong believes in the report "China's Experience in Intangible Cultural Heritage Protection" that the concept of intangible cultural heritage protection is to rediscover the legitimacy of its own existence for a cultural group and its traditions, and advocates seeking the realization of the people., individualization and fleshization, rather than abstract people.
He pointed out that "Intangible cultural heritage protection is not only a cultural project in China, but also a social movement based on a series of institutional construction.
It has spread the concept of cultural diversity, established awareness of intangible cultural heritage protection, mobilized millions of people, attracted media focus and the participation of teachers and students of various colleges and universities have given birth to new industries and new academics, and has intervened in important national issues such as Beautiful China, ecological civilization, urban inclusiveness, characteristic towns, rural revitalization, and targeted poverty alleviation.
Become a positive factor in solving many problems in building a modern country." Gao Bingzhong summarized the five main aspects of China's experience in intangible cultural heritage protection: 1.
The people-centered concept and practice; 2.
Innovation of systems and mechanisms; 3.
Integrate the spirit of the Convention with national conditions; 4.
Modern governance in the cultural field; 5.
Comprehensive involvement in social and economic development.
Gao Bingzhong finally mentioned the concept of "intangible cultural heritage +", which means that intangible cultural heritage is regarded as the matrix.
When we activate it and maintain its vitality, we need to continue to reproduce and derive it.
Song Junhua summarized China's exploration or experience in five aspects in the protection of intangible cultural heritage.
In his keynote speech "Exploration of Intangible Cultural Heritage Protection in China", he pointed out,"Intangible cultural heritage protection is a practice that mankind continues to explore.
Diversity is the essence of human culture and the cornerstone of the sustainable development of human civilization.
Adhering to the diversity of intangible cultural heritage and exchanges and mutual learning is the basic spirit of the Convention and the basic starting point for countries around the world to carry out intangible cultural heritage protection.
China was one of the earliest parties to the Convention and an important promoter of intangible cultural heritage protection in the world.
Over the past decade or so, China has actively explored the concept, legal system construction, methods, and management models of intangible cultural heritage protection, innovated and developed the international concept of intangible cultural heritage protection; established a legal system for intangible cultural heritage protection with Chinese characteristics; Exploring intangible cultural heritage protection methods and methods that are in line with China's national conditions; deepening international cooperation and exchanges in intangible cultural heritage protection, and contributing Chinese solutions and experience to the development of the world's intangible cultural heritage protection." It can be said that the protection of intangible cultural heritage in China provides its own concept for the protection of international intangible cultural heritage, and provides important theoretical and practical support for China's national development and global strategy.
Gao Xiaokang introduced intangible cultural heritage protection as a national development strategy with the keywords of "inheritance","mutual enjoyment" and "publicity" in his report "Intangible cultural heritage Protection as a national development strategy: Inheritance, Mutual enjoyment and Publicity".
When talking about inheritance, we talked about the issues of truth and falsehood, as well as the subjective issues of the evolution, degradation, activation and protection of intangible cultural heritage; when talking about sharing, we discussed the issues of fragmentation and classification and combination; when talking about publicity, we mentioned some issues of patents and public goods.
He pointed out that under the situation that the actual effect and cultural influence of intangible cultural heritage protection as an effort to protect the world's cultural diversity are not so optimistic, it is only professional to protect the morphological characteristics of weak, marginal and endangered cultural matters from a technical level.
It is difficult to achieve such grand and realistic goals as protecting cultural diversity and building a consensus on a community with a shared future for mankind.
Therefore, it is necessary to reflect on the experience, methods, paths and concepts of the world's intangible cultural heritage protection practice, and believe that "the most basic feature of China's intangible cultural heritage protection practice is that it transcends the perspective and paradigm limitations of general professional techniques and specific matters.
Promote the practice of intangible cultural heritage protection from the perspective of national cultural development strategies and the global perspective of building a community with a shared future for mankind.
As a result, intangible cultural heritage protection has become an important content and path for world cultural exchanges such as China's public cultural construction and the Belt and Road Initiative.
Studying the practical experience and concepts of intangible cultural heritage protection with China characteristics will help promote the inheritance, exchange and shared development of various cultures in China and the world."
2.
Modernization and transformation of intangible cultural heritage: using advanced technology to inherit the spirit of intangible cultural heritage
During the implementation of the United Nations and national cultural heritage protection systems, intangible cultural heritage has gradually transformed from local culture into a resource with economic value that can be shared by mankind, jointly build a community with a shared future for mankind, and build public culture.
Under the impact of comprehensive modernization of society, intangible cultural heritage has to undergo modernization and transformation to integrate into contemporary people's lives and glow with new vitality.
Advanced technology can enable traditional intangible cultural heritage to be displayed in a living manner and promote the spread of intangible cultural heritage; spiritual emotions are the core of intangible cultural heritage, and attaching importance to the spirit of intangible cultural heritage can shorten the distance between intangible cultural heritage and the people.
The discussion mainly involved related issues such as the modernization and transformation of intangible cultural heritage, the core of the dissemination and inheritance of intangible cultural heritage.
Huang Yonglin's "Intelligent Media and Its Use in the Dissemination of Intangible Cultural Heritage" report focuses on the participation of current popular media such as fast-handed and Douyin in intangible cultural heritage from the perspective of the application of intelligent media and intangible cultural heritage.
It is believed that the addition of these media will, on the one hand, change the structure of people's understanding of cultural traditions, make the subjects of intangible cultural inheritance more diverse, more vivid in form, and greatly enhance the experiential and aesthetic sense; On the other hand, it will also build a new form of communication to achieve fissile communication, making the dissemination of intangible cultural heritage faster, efficient and accurate, and at the same time stimulating a deeper and broader cultural consumption experience.
In fact, it has brought more widespread dissemination of intangible cultural heritage, enhanced the energy and ability of intangible cultural heritage disseminators, and contributed to the protection of intangible cultural heritage; while smart media will cause the fragmentation of intangible cultural heritage or flattening is a preconceived idea.
At the same time, it also raised some shortcomings and existing problems brought by smart media.
Therefore, the use of smart media in the dissemination of intangible cultural heritage should properly handle the relationship and issues between public services and personalized services, reality and virtual reality, spiritual values and entertainment values, as well as personal privacy and intellectual property protection.
Yang Hong believes that the dissemination of intangible cultural heritage is not equal to inheritance, but communication is also a way to protect intangible cultural heritage.
In a special speech entitled "Purpose, Method and Direction-Contemporary Communication Practice of Intangible Cultural Heritage Protection in China", it was pointed out that the protection of intangible cultural heritage in contemporary China has evolved from a single industry behavior to a social matter involving extensive participation in multiple fields.
First, the "intangible cultural heritage craze" continues to heat up, the characteristics and value of intangible cultural heritage are being increasingly widely conveyed in various mass communication practices, and the effect of communication promoting inheritance is beginning to appear; second, the booming cultural consumer market and manufacturing, service industry and other industries The trend of "industrial culturalization" has provided a broad and diverse communication carrier and scene for intangible cultural heritage resources, opening up a new path of cultural communication with huge potential between daily life and artistic appreciation; Third, the "circle culture" based on online social networking has gradually become an alternative to the traditional acquaintance society, and social media has been upgraded from an interpersonal communication tool to a mainstream channel of cultural communication.
Studying various communication practices and effects of intangible cultural heritage in contemporary China will help understand contemporary people's true perceptions and practical needs for intangible cultural heritage, and should serve as an important reference for establishing the direction of intangible cultural heritage protection.
In his keynote speech entitled "Intangible Cultural Heritage and the Protection and Inheritance of China Traditional Festivals", Xiao Fangfang pointed out that "China traditional festivals are the main content of folk culture.
The special event system formed in long history carries rich historical and cultural connotations and is a cultural space for concentrated display and inheritance of people's spiritual beliefs, aesthetic tastes, ethical relations and consumption habits." He takes traditional festivals as the starting point and believes that intangible cultural heritage and traditional festivals are mutually reinforcing.
Traditional festivals have both temporal and spatial nature, occupy a special position in intangible cultural heritage, and emphasize the traditional spiritual connotation to continue the vitality of the festival.
Therefore, we must adhere to the spiritual core of festival ceremonies, adhere to the participation of multiple subjects, and comprehensively use multiple protection methods to promote the living protection of intangible cultural heritage.
He also elaborated on the achievements in the protection of traditional festivals, and put forward countermeasures and suggestions based on analyzing existing problems.
From the perspective of protecting craft culture, Qiu Chunlin pointed out that the inheritance and development of craft emphasizes spiritual connotation, not only focusing on technology, but also respecting technology.
He also believes that we cannot simply judge whether cultural protection is good or bad simply based on the hot and cold of the market.
In his keynote speech entitled "The Current Situation and Revitalization Issues of Traditional Crafts", he pointed out that in 2018, due to factors such as international political instability and weak international consumer markets, the development momentum of the traditional craft industry was slowing down, generally showing a situation of "cold market and hot culture".
In the context of a large historical context, traditional crafts are still in a period of cultural transformation.
The light industry identity of traditional crafts is weakening, and two new identities are becoming increasingly prominent: one is the creative cultural industry; the other is the protection of intangible cultural heritage.
The three production methods of traditional craftsmanship, large-scale industrialization, and artificial intelligence are now in a state of coexistence, and mutual borrowing and integration are inevitable.
Traditional crafts inherit the spirit of Confucianism, Buddhism and Taoism.
The Confucian interpersonal and ethical relationship is still reflected in today's master-apprentice relationship.
Buddhist meditation requires traditional craftsmen to be calm during the labor process.
The Taoist spirit of respecting nature and pursuing the unity of man and nature still plays a role in the craft process and is still the aesthetic background of China handicrafts.
The production of traditional crafts should be developed in the direction of family-style small and micro enterprises that combine sightseeing experience.
This is the mainstream.
To be "small but beautiful", we must be branded, allow production and cultural services to be simultaneously combined, and achieve "small but strong".
Cai Fengming pointed out in his special speech entitled "Awakening, Protection and Integration-Exploring the Sustainable Development Path of Contemporary Intangible Cultural Heritage" that the core value of intangible cultural heritage lies in spiritual value and emotional value, and protecting intangible cultural heritage life requires creating conditions for feasibility.
Intangible cultural heritage must be integrated into contemporary people's lives to truly achieve "creative transformation and innovative development." He believes that with the deepening of the practice of intangible cultural heritage protection, my country's understanding of intangible cultural heritage itself and the laws of intangible cultural heritage has been further deepened.
Under the current favorable situation, we must be far-sighted and far-sighted, and establish a more long-term and sustainable development goal, explore a more feasible and effective path to achieve this goal, so that my country's intangible cultural heritage protection cause can always maintain a state of lasting, orderly and benign development.
Seek stronger motivation and stamina for the sustainable development of intangible cultural heritage protection.
First of all, explore the inherent spiritual and emotional values of intangible cultural heritage and awaken people's broad recognition of the value of intangible cultural heritage.Secondly, protect the foundation for the continuation of intangible cultural heritage life and create the possibility for the survival and development of intangible cultural heritage in contemporary society.
Finally, integrate intangible cultural heritage into real life, so that intangible cultural heritage can effectively transform its contemporary identity.
3.
Case analysis: Inspection of laws and regulations, Ao Yu Dance, Lingnan Chen's stitch method, Guangdong Cantonese opera, cloth tiger, etc.
Comrade Xi Jinping pointed out,"Contemporary China is undergoing the most extensive and profound social changes in our country's history, and is also carrying out the most magnificent and unique practical innovation in human history." With the improvement of my country's intangible cultural heritage protection capabilities, China has gradually developed from a country that receives international assistance and learns from others in the field of intangible cultural heritage protection to a country that has the ability to solve its own problems and provides China's solutions to solve common problems faced by mankind.
The China characteristics shown in specific protection cases in different regions and objects are of important and enlightening significance to the protection of intangible cultural heritage in the world.
We can understand where the characteristics of China's intangible cultural heritage protection practice are specifically reflected under the practical protection of different objects, and what is its significance to the world?
Chen Huawen in his book titled "Practicality and Operability: Standardized Management and Legal Protection of Intangible Cultural Heritage-Taking the Construction and Protection of Cultural Ecological Zones as an Example "points out that standardized management and legal protection are the inevitable path for the current protection of intangible cultural heritage.
Taking the construction and protection of cultural ecological zones as an example, this is a protection method unique to China and of practical significance in the country and the world.
It has experienced the spirit of exploration focusing on provinces and regions, taking specific different regions as the scope, and crossing the river by feeling the stones.
It has achieved overall protection from concepts to projects to inheritors to material culture to communities.
The "Measures for the Protection and Management of National Cultural Ecological Zones" implemented on March 1, 2019 provides practical and operability for this protection.
Strong guarantee, from the setting of ecological zones to the realization of specific indicators for management, are specific and indexed, providing a model for standardized management and legal protection.
Chen Anying pointed out in her book entitled "Goals and Standards for Revitalizing China Traditional Crafts" that in March 2017, the General Office of the State Council forwarded the "China Traditional Crafts Revitalization Plan" formulated by the former Ministry of Culture, the Ministry of Industry and Information Technology, and the Ministry of Finance.
Although the plan proposes a series of goals and tasks by 2020, it does not clearly describe the ultimate state of revitalizing traditional crafts.
In the process of revitalizing China's traditional crafts, in order to better understand in which direction and how the traditional crafts industry should transform, it is necessary to further clarify the goals and standards for revitalizing traditional crafts.
This paper proposes three major standards for the revitalization of traditional crafts.
The core part is "seeing people, things, and life." The ultimate goal of revitalizing traditional crafts is to establish a contemporary life style with China characteristics and China charm, so that people can poetically inhabit the earth.
Deng Yao pointed out in a special speech entitled "Perfect Protection Model-Exploration and Practice of Intangible Cultural Heritage Protection under the Legal System of Geographical Indications" that the "Zhangqiu Iron Pot Incident" in 2018 made people pay attention to the importance of geographical protection signs.
Judging from the international and domestic research on the legal protection system of geographical indications, the current situation related to the protection of intangible cultural heritage in my country, judicial big data analysis, and typical case surveys,"geographical indications" are very necessary and feasible for the protection of intangible cultural heritage.
Tao Wei and others pointed out in a special speech entitled "Research on Intangible Cultural Heritage Based on the Perspective of Body Geography: A Case of Ao Fish Dance in Shayong Village, Guangzhou" that the body is the "main body" of culture and the "foundation of cultural existence".
It plays a fundamental role in the shaping of intangible cultural heritage.
Intangible cultural heritage with human beings as noumenon, subject, carrier and living beings is actually a kind of "physical heritage".
The human body is regarded as the living material carrier of the "teaching and inheritance" of intangible cultural heritage, and is the logical starting point of the concept or thing of intangible cultural heritage.
This paper selects the Aoyu Dance and its inheritors in Shayong Village, Guangzhou, a performance intangible cultural heritage project, as the research objects.
From the perspective of physical geography, it studies the formation and performance of physical techniques of the inheritors of intangible cultural heritage during the time and space process of training and performance.
The experience and interaction of the body and emotions of the inheritors are analyzed, and the mechanism of mutual influence between the body and emotions of the inheritors during the time and space process of training and performance is analyzed.
On the one hand, in the spatio-temporal process of inheritance and training, the Aoyu Dance is a way of knowledge expression and knowledge exploration for the inheritors, and a kind of physical learning.
The emotional flow of the inheritor, the biological characteristics of the body and the local social culture are interconnected and influenced.
On the other hand, the body is the core of inheriting people's multi-sensory experience in the performance space.
Through physical experiences such as vision, hearing, touch and smell, the inheritors establish a body-led emotional change mechanism in the performance space.
As a tool of space production, the inheritor has gained rich physical experience.
At the same time, the inheritor has constructed specific local capital through the body and thus established a connection with specific local culture.
Chen Xiuhua pointed out in his special speech entitled "Inheritance, Protection and Innovative Development of" Lingnan Chen's Needle Technique "that" Lingnan Chen's Needle Technique "has experienced more than a century of development from two generations of disciples, including Chen Baoshan, Chen Jinchang, Chen Xinxin and Chen Xiuhua.
Among them, the original "Lingnan Chen's Flying Needle Technique" is characterized by "sterility, painless, accurate and rapid rotation", laying a milestone in my country's "painless needling technology".
Focus on innovative development, promotion and application, and international exchanges in inheritance.
Yu Yong discussed the issues that should be paid attention to in the development and protection of intangible cultural heritage from the perspective of his own practice subject, the development of Cantonese opera in Guangdong, and the experience of intangible cultural heritage protection in Guangzhou.
In particular, he proposed that the guarantee for the sustainable development of intangible cultural heritage is The key to policy implementation is talents, and the requirement is resource integration and coordinated development.
He believes that the protection of intangible cultural heritage must have vitality and continuity, and cultural self-confidence, integrity and consciousness are prerequisites for protecting intangible cultural heritage.
He pointed out: "Intangible cultural heritage is a traditional cultural expression passed down from generation to generation by people of all ethnic groups after a long period of historical precipitation.
It has diverse forms, is closely related to people's lives, and contains unique cultural connotations of the nation.
Protecting intangible cultural heritage is not about protecting it for the past, but about respecting the past for the present and future.
We must strengthen its vitality and continuity, absorb the essence of Chinese civilization, actively inherit it, revitalize and creatively develop traditional literature, undertake the mission of recording, writing, and eulogizing the new era, and make it an organic part of modern civilization."
Ma Zhiyao's case of using cloth tigers emphasizes that we should respect handicrafts and believes that "folk production, folk creation, and folk selection." In his keynote speech entitled "Construction and Thinking of Intangible Cultural Heritage as" Public Culture "", he reviewed the protection and development of intangible cultural heritage in China from inception to development to promotion and acceleration.
As the protection of intangible cultural heritage gradually deepens, intangible cultural heritage is gradually becoming an indispensable part of public cultural undertakings.
Its sharing nature has made more people get closer to and love it, and artists have gained more cultural confidence.
At the same time, the country's advocacy of intangible cultural heritage research and training programs in colleges and universities is promoting intangible cultural heritage into public life; the sustainable development of intangible cultural heritage has put forward more demands for the team of intangible cultural heritage brokers or cultural intermediaries.
The vitality of intangible cultural heritage lies in its practicality.
Intangible cultural heritage is closely related to people's lives and customs and will continue to develop in the process of innovation.
Therefore, the concept of intangible cultural heritage protection of creative transformation and innovative development needs to be deeply rooted in the hearts of the people.
Another 20 scholars elaborated on the relationship between the national strategy and the protection of my country's intangible cultural heritage from different perspectives, as well as issues such as precise policies and sustainable development for the protection of intangible cultural heritage.
It expounds the great achievements, characteristic practices, practical experience and theoretical discussions that China has made in carrying out the protection of intangible cultural heritage under the guidance of the spirit of the UNESCO Convention for the Protection of Intangible Cultural Heritage and in light of China's national conditions, and clearly points out that China's intangible cultural heritage protection must not only abide by international concepts and international rules, but also be combined with specific national conditions and national development strategies to form concepts and models with Chinese characteristics and strengthen cultural confidence.
Propose the "China Plan" for the protection of intangible cultural heritage in the international community, issue the "Voice of China", promote the sustainable development of international intangible cultural protection, promote exchanges and mutual learning among different civilizations, build a community with a shared future for mankind, and promote the harmonious development of the world.
The heated and in-depth discussions constantly collided with sparks of thought.
Experts and scholars participating in the meeting reached consensus on building a theoretical system for the protection of intangible cultural heritage with China characteristics, guiding my country's intangible cultural heritage protection practice, strengthening cultural confidence, and working in international intangible cultural heritage protection work.
Tell the story of China well and voice China.
This conference is a summary meeting of the practice of intangible cultural heritage protection in China.
It is also a conference that will carry forward the past and forge ahead into the future.
It will promote the continuous deepening of practice and theoretical research on intangible cultural heritage protection in my country.
(This article was published in "Cultural Heritage", No.
5, 2019.
The annotations are omitted.
See the original issue for details)