[Liu Guochen] Cultural Space: Practice of Living Protection of Intangible Cultural Heritage

Abstract: In the perspective of intangible cultural heritage protection, the concept of "cultural space" plays an important role in promoting the three-dimensional and diversified construction of traditional cultural protection systems.

Cultural space overlaps time and space, embodies it into unified cultural values, and embodies it into solid landscape buildings or folk activities.

It demonstrates the intrinsic factors of traditional culture in the four dimensions of subjectivity, space, timeliness and culture.

The blending and complexity promote the survival and development of intangible cultural heritage in modern society.

Keywords: Intangible cultural heritage; cultural space; holistic protection 1.

localized changes in intangible cultural heritage protection

China's ethnic and folk cultural protection project has sounded the prelude to the protection of intangible cultural heritage, which is connected with the protection of intangible cultural heritage and continues.

"The Chinese Ethnic and Folk Culture Protection Project is a project launched by the Ministry of Culture, the Ministry of Finance, the State Ethnic Affairs Commission and the China Federation of Literary and Art Circles in early 2003 and promoted by the government.

It is a systematic project to effectively protect our country's precious, endangered ethnic and folk traditions with historical, cultural and scientific value.

We strive to achieve results by 2020 and lay the foundation for the creation of an intangible cultural heritage protection system with Chinese characteristics." The "Protection Project" takes intangible cultural heritage as the survey object.

Its main implementation contents include a comprehensive survey of the current status of intangible cultural heritage, a true, scientific and multi-faceted recording and sorting of endangered intangible cultural resources, and a systematic and dynamic protection.

The "protection project" is closely related to intangible cultural heritage in terms of research objects, work goals and specific measures.

In the initial stage, the "protection project" has become a valuable source of experience for intangible cultural heritage work.

In order to promote the development of traditional cultural undertakings, the China Folk Literary and Art Association began naming the "Hometown of Folk Literature and Art" in the late 1980s.

Initially, the naming scope was narrow, arbitrary, and lacked systematic planning.

After 1987, the scope of work changed from single to comprehensive, with rich content.

The naming work of the China Association for Democracy and People's Livelihood grants people the right to protect their own culture, effectively integrates and protects unique cultural resources, laying the foundation for their spatial and comprehensive protection.

This move has effectively promoted the rescue of cultural heritage, inspired people's love for local culture and national culture, and promoted the development of regional economy and cultural industries.

"Establishing a hometown of folk literature and art is a deep-seated cultural behavior for us to enter the cultural structure, an exploratory cultural discovery into the cultural psychology of the Chinese nation, and the best way to excavate, rescue and protect the folk culture of all ethnic groups.

It is an important measure for comprehensive cultural projects such as three-dimensional protection of culture, storage of culture, and establishment of cultural parks."

The three projects, namely the protection of intangible cultural heritage, the protection project of China's ethnic folk culture, and the naming of the "Hometown of Folk Literature and Art", show implicit consistency in protection objects, purposes and practical measures, and have accumulated rich local experience during the exploration period of intangible cultural heritage protection in China.

In terms of objects and purposes, the naming activity of "Hometown of Folk Literature and Art" precedes the intangible cultural heritage protection work.

The initial naming scope has great limitations and mainly focuses on specific categories such as folk literature.

The introduction of the concept of intangible cultural heritage has opened up the naming scope of "Hometown of Folk Literature and Art".

The three cultural protection projects are all committed to rescuing and preserving national cultural heritage with national cultural characteristics, historical and cultural values, and being endangered.

They attempt to preserve the cultural roots of the nation and protect the spiritual home of the people in the process of modernization.

Their intrinsic value orientation and cognition are highly compatible.

However, there are still differences in their objects.

The objects of ethnic and folk cultural protection projects and intangible cultural heritage protection work are based on local resources and are divided into internationally accepted types.

The protection of "Hometown of Folk Literature and Art" takes the region as the object, focusing on exploring, integrating and protecting representative cultural resources with regional characteristics, making it more holistic and spatial.

The naming of "Hometown of Folk Literature and Art" highlights the spatial characteristics of the region, while the spatial concepts of ethnic and folk cultural protection projects and intangible cultural heritage protection are scattered in specific systems.

The National and Folk Culture Protection Project proposes the protection method to "selectively establish intangible cultural heritage ecological protection zones in areas with conditions for sustainable development of intangible cultural heritage." Regarding regional space protection, the three protection projects are interconnected, closely related, and each has its own focus.

"Intangible cultural heritage protection projects and their significance need to be placed in the overall history of local intangible cultural heritage protection and examined in the context of the relevance of intangible cultural heritage projects and local practice.

Only in this way can we obtain a more comprehensive and accurate understanding of the project.

understanding." With the expansion of the intangible cultural heritage protection movement, the China government has actively carried out pilot work on the construction of cultural spaces, enthusiastically responded to the call of UNESCO, combined international cutting-edge theories and methods with China's local practical experience, and steadily promoted the process of my country's intangible cultural heritage protection work.

2.

Cognition of "cultural space" from the perspective of intangible cultural heritage

Cultural space is a proper term that refers to the form and type of intangible cultural heritage.

Many UNESCO documents have repeatedly reiterated the connotation and significance of cultural space.

In 2003, the Convention for the Protection of Intangible Cultural Heritage involved the concept of cultural space when it defined the concept of intangible cultural heritage.

"'Intangible cultural heritage 'refers to the various social practices, conceptual expressions, forms of expression, knowledge, skills, and related tools, objects, handicrafts and culture that communities, groups, and sometimes individuals regard as part of their cultural heritage." Edmund Mukara, a cultural official at UNESCO, put forward a more specific interpretation of cultural space, which is expressed in terms of spatial nature, a specific area of a certain folk traditional cultural activity, and also in terms of temporal nature, a fixed time for the performance of a certain event.

Domestic scholars have also explained cultural space from different perspectives based on the work experience and practical needs of intangible cultural heritage.

Chen Hong proposed in his article "A Trial Talk on the Concept and Connotation of Cultural Space" that "cultural space is a space for people's specific activities and a common cultural atmosphere, that is, a place where traditional cultural activities are held regularly or traditional cultural expressions are concentrated.

It is both spatial, practical and cultural." Wu Bing 'an pointed out that "Any traditional large-scale comprehensive ethnic and folk cultural activities held at times and in fixed places determined in accordance with ancient customs established by folk customs is a cultural space form of intangible cultural heritage." Xiang Yunju advocated that "it has not only certain materialization forms (locations, buildings, places, objects, utensils, etc.), but also periodic human behaviors, gatherings, and demonstrations.

Moreover, this seasonal, cyclical, seasonal, temporal cultural play and repetition is a unique cultural space or cultural form."

From official document definition to scholar's professional discussion, subjectivity, space, time and culture are the main characteristics of cultural space identified by people.

On the first hand, subjectivity means that intangible cultural heritage is a living culture familiar to the collective or individual, with similar or similar understanding, which is transformed into cultural symbols or materialized into a certain form through the presence of human beings.

Second, spatiality is the basic attribute of cultural space, including material space and cognitive space.

Material space refers to the activity space where folk cultural activities can be generated, spread and performed.

It has clear geographical boundaries and actual visible forms, and is related to the living areas of groups.

Cognitive space is also another manifestation of subjectivity and a discourse space for cultural acceptance and inheritance.

Intangible cultural heritage is precisely because it has become an important factor in the composition of civil society and has reached a self-evident consensus, so it can be passed down from generation to generation.

Third, timeliness is another important attribute of cultural space.

Time is used as a vertical clue and is presented as a certain continuous state.

A series of cultural activities are repeated at a certain point in time and superimposed with space to build a complete cultural space.

The fourth aspect, culturality is the form of activity in cultural space.

Cultural space is a kind of comprehensive cultural activity, and the cultural elements within it have indivisible integrity and express its cultural significance.

Intangible cultural heritage has its own life trajectory.

Only by following its own evolution laws and not fixing it at a certain time and space node can it be passed down from generation to generation in the overall living protection and rejuvenated.

3.

Diversified transformation of intangible cultural heritage protection

There is such a paradox in the protection of intangible cultural heritage: "The heritage protection movement in Western countries has established the dominant position of the government in heritage protection from the beginning, highlighting the ideology and power discourse of heritage protection, while ignoring the original nature of heritage.

The role and influence of the subject.

Our government has also stipulated the basic principles and positions of 'government-led, social participation'." The current intangible cultural heritage protection follows a top-down model, centered on the government, through policy institutional guidance, economic financial support, mandatory legal management, combined with professional planning and design, and internationalization.

As a reference, the standard attempts to coordinate with the rules formulated by UNESCO, and ultimately achieves the goal of rescuing endangered intangible cultural heritage by entering local, national and world intangible cultural heritage lists.

This has led to the aphasia of cultural possessors and diluted the emotional attachment of cultural possessors to intangible cultural heritage.

In the global wave of intangible cultural heritage protection, the focus of my country's government's protection work lies in government-led leadership, but practical experience shows that government-led leadership has evolved into government-led responsibility, and the government has mastered the main cultural management rights, making it difficult for non-official forces to fully participate in this cultural protection movement.

Therefore, the government needs to change its own positioning and create a space for exchanges and joint participation, so that intangible cultural heritage work can be fundamentally sustainable.

"The positioning of the government is the positioning of national ownership, but the government cannot serve as a substitute for citizens to protect intangible cultural heritage." Cultural space protection is a protection method proposed based on the characteristics of intangible cultural heritage.

Cultural space is essentially a humanized product of natural space and an external manifestation of human consciousness of the self.

It provides the possibility to realize the subjective initiative and free creative ability of cultural holders.

This is a collaborative protection involving multiple subjects.

In this space, different participants have their own positions and the autonomy to exercise their rights.

Therefore, each participant needs to have a clear understanding of their own identity and coordinate each other's conflicts., jointly promote the process of intangible cultural heritage protection.

Many intangible cultural heritage in my country is highly shareable and rich in types, which is difficult to unify using national unified standards.

The inheritors of intangible cultural heritage often have conflicts due to national identification and funding issues, resulting in chaotic inheritance order.

For my country's intangible cultural heritage protection,"we must protect the country's unitary cultural power while taking into account the reality of the diversity of cultural rights." The construction of cultural space is in line with the characteristics and reality of intangible cultural heritage.

While the government exerts its monistic cultural rights, it also enables intangible cultural heritage to gain opportunities for self-development and self-planning within the framework of national discourse, and constructs a public Intangible cultural heritage protection system.

"In the current popular heritage movement, while future heritage protection must be carried out 'top-down', we must also focus on stimulating the conscious protection awareness of local subjects, developing from passive protection to active protection, so as to achieve the protection of cultural heritage.

The goal of integrity and authenticity, as well as the diversity and uniqueness of heritage." Cultural space protection provides a platform for collaborative communication between the government, local cultural workers, and the public, promoting the government's monistic protection to the full participation of diverse subjects, enhancing the humanistic value of the space and helping to avoid the problem of spatial alienation.

Facts have proved that once the emotional needs of cultural recipients are ignored, the socialization of intangible cultural heritage and the modern transformation of human culture are hindered, and the protected spatial form will inevitably be dead and difficult to maintain.

The protection of cultural spaces must include the subject's production and living needs, emotional and cultural identity, reconcile the contradiction between people's modernization development requirements and the protection of intangible cultural heritage, and enable people to dwell poetically in the space.

(This article was published in "Chinese Character Culture", No.

22, 2019.

The annotations are omitted.

See the original issue for details)