[Pan Bao] Intangible culture from the perspective of heritage anthropology

Abstract: The recognition of intangible culture as heritage is a mechanism that modern society acts on culture, and heritage production is a concrete manifestation of this mechanism.

Intangible culture can become the object of heritage production, integrating existing cultural forms from traditional society into the development process of modern society.

In the process of heritage production, the original production and leisure functions of intangible culture have also changed the relationship and structure of local society due to the influence of modern society.

Intangible culture can become an object of heritage and leisure, and in this process it can also become a medium for communication and interaction between local society and external society.

Intangible culture in the perspective of heritage anthropology is about human culture.

Only by returning it to the essence of production and leisure again and embedding it into people's daily life can it be possible to demonstrate its protection and inheritance.

Keywords: intangible culture; heritage production; heritage leisure; heritage anthropology

As a cultural concept arising in the development of modern society, the emergence of "heritage" makes human society's understanding of culture no longer rigidly adhere to the level of a certain nation-state), nor to a certain geographical region or the level of national cultural specificity.

The concept of heritage transcends the dual structure of center and periphery created by modern capital economy, and also transcends our original or backward construction of others 'foreign culture based on our sense of superiority of our own culture.

This concept makes human society no longer judge the merits of a certain cultural form based on the amount of material wealth at the capital economic level.

With the influence of the concept of heritage, especially with the adoption by UNESCO of the Convention for the Protection of the World Cultural and Natural Heritage in Paris in 1972, the emphasis on cultural diversity and cultural diversity at the level of a whole has become increasingly important.

Consensus on cultural development in human society.

The Convention for the Protection of the World Cultural and Natural Heritage divides heritage into two categories: cultural heritage and natural heritage.

Heritage practice and cooperation at the international level have made human society realize that the protection and inheritance of heritage is not only a matter for contemporary people, but also related to future generations.

This involves the sustainability of heritage development.

With the accelerating pace of globalization, the impact of economic integration on different ethnic groups, countries and regions, and the further deepening of human society's understanding and understanding of the concept of heritage, the cultural relics contained in cultural heritage in the Convention for the Protection of the World Cultural and Natural Heritage (monuments), groups of buildings), and sites) are not enough to understand and explain different regions and different types of cultural forms in human society, nor are they conducive to targeted protection of cultural relics in heritage practice.

Buildings, sites, etc.

cannot be attached to these cultural heritage at the material level.

In other words, the cultural heritage in the Convention for the Protection of the World Cultural and Natural Heritage places too much emphasis on tangible cultural heritage).

Therefore, after nearly three decades of heritage practice, UNESCO adopted the Convention for the Protection of Intangible Cultural Heritage in Paris in 2003, making the concept of intangible cultural heritage a further explanation of the concept of cultural heritage and further expanding the meaning of cultural heritage, making intangible culture a hot spot in heritage research.

Heritage anthropology conducts research on heritage based on the overall level of human society and uses relevant theoretical methods of anthropology.

It does not stop at the level of cultural narrative and cultural writing of the heritage of others, nor does it just place heritage in the existing theories of anthropology.

Conduct pure analysis and interpretation.

Heritage anthropology explores the ontological tendency of heritage.

Or, heritage anthropology studies the nature of heritage existence, the impact of heritage existence on the whole of species, the cultural relationship between heritage and people who can be called species, the concept of heritage and the humanity that its users are trying to demonstrate, and the roots of modernity and the reasons for its evolution in human society.

The concept of intangible culture is a further refinement of human society's understanding and cognition of culture under the influence of the concept of heritage.

It further inspires the spiritual level of culture so as to enrich the daily life of human society and pay attention to local culture and The relationship between modern lifestyles.

From the perspective of heritage anthropology, intangible culture attempts to demonstrate human nature at the level of ourselves and others through the same concept of heritage.

Through theoretical research in heritage anthropology, we can understand and explain intangible culture in the process of demonstrating human nature and in the process of heritage production and heritage leisure.

Heritage anthropology further explores the essence of the existence of intangible culture by analyzing the relationship between intangible culture and heritage and the changes of different cultural forms caused by the construction of this relationship.

I.

Intangible culture as an object of heritage production

Non-material culture refers to various cultural forms that can reflect the humanistic and spiritual features of the group and individual in which it is located, mostly presented by traditional skills, festivals and ceremonies.

Non-material culture, not the opposite of material, is an expression of many intangible cultural forms.

It pays more attention to the spiritual level of culture and pays more attention to the non-material level closely related to people's daily life.

Heritage is another modern discourse expression of culture.

It liberates culture from the rational shackles of capital economy with the purpose of pursuing material wealth, and affects the expression and existence of traditional culture in a modern society through discourse expression of protection and inheritance.

way.

The existence of intangible culture is a result of the cognitive development of human society and the result of human beings 'awareness of the importance of cultural diversity in the development of modern society.

The existence of heritage is a further sublimation of the existence of intangible culture.

That is, while intangible culture expresses the cultural diversity of different regions of human society, it still needs heritage discourse to further modify it in order to emphasize the uniqueness of each cultural form in intangible culture.

In other words, heritage is another expression of intangible culture, and the existence of heritage requires the continuous presentation of various intangible cultural forms.

As the amount of heritage is also growing, intangible culture is naturally constantly discovered by people living in a modern society.

At the practical level, heritage is not an invention or creation of intangible culture.

Heritage is first recognized, by UNESCO or nation-states and their internal cultural functions.

This also shows that heritage is a method of cultural production in modern society.

Through the recognition mechanism of heritage, heritage production has become a method of cultural production.

The purpose of production is to influence the expression of intangible culture through the discourse of heritage.

Heritage production refers to a process of heritage discourse practice, that is, various intangible cultures are identified as heritage, and the discourse of heritage affects the expression of intangible culture.

Looking at intangible culture from the perspective of heritage production, intangible culture may become the object of heritage production; while looking at intangible culture from the perspective of the overall cultural diversity of mankind, heritage is a way of expressing cultural value in human society.

Therefore, heritage production is a process in which human society demonstrates the cultural value of intangible culture on a quasi-overall level, so as to highlight its human value in the development of modern society.

When the highlight of human value is based on the cultural value of heritage, it inevitably requires the integration of various cultural forms through intangible culture, a medium that can highlight spiritual value, and various cultural forms at the heritage level.

Human value is expressed through intangible culture, while heritage production is condensed in the process of highlighting intangible culture.

The problem is that although heritage production affects the expression of intangible culture in the form of heritage identification, the expression of intangible culture is not necessarily based on the results of heritage production.

Dr.

Richard Handler reminds us that "cultural configurations are special historical products that must be interpreted and translated; but people cannot write the laws of social science in order to explain their particularities." This also means that intangible culture and heritage belong to different expressions of cultural forms.

While emphasizing the particularity of intangible culture or heritage, the meanings expressed by the two cannot be unified in the concept of "intangible cultural heritage".

Although the expression of intangible culture must seek to be combined with the concept of heritage in the context of modern society and in the mechanism of heritage discourse, the main body expressed by intangible culture is human beings, a certain group or individual behind intangible culture.

Therefore, heritage production is indeed necessarily based on expressions similar to intangible culture, but heritage production is not necessarily absolutely dominated by intangible cultural expressions.

In the discourse expression of "intangible cultural heritage", intangible culture is not only a modification of heritage, but also an expression of heritage.

Therefore, the main body of heritage production must be people living in modern society.

It is a process for people to understand and interpret various existing objects.

Identifying objects as heritage means that people, as the main body, are treating objects.

Things have changed.

Especially as more and more objects are recognized as heritage, the concept of heritage and the objects it corresponds to have indeed affected people's cognition.

It has to be said that the emergence of the term intangible culture is itself a result of heritage production.

However, heritage production itself is not necessarily equivalent to intangible cultural production.

For the owners of intangible culture, for example, producing handicrafts through handicrafts and participating in activities during festivals is itself a way for the continuation of group and individual culture, a way of original cultural production, and an attribute of the essence of culture.

Such culture is intertwined with people's daily life.

For intangible culture, production itself is a presentation of self-culture).

Under the influence of heritage discourse, for example, the production of intangible culture may become a profession for those with traditional skills.

Production is not an end in itself, but the purpose is for the people who consume this culture and a participation in the modern capital economy.

A process, a production process to show traditional skills to others, and a representation of self-culture).

One of the results of the interaction between intangible culture and heritage is the transformation of other and us at the cultural level.

The result of this transformation is that the intangible culture of others is also the intangible culture of us, and the intangible culture of us may also be shaped into the intangible culture in the perspective of others.

In other words, in the context of heritage production, the form of intangible culture has changed, and the purpose of its existence has also changed.

If the existence of culture is proof that humans claim to be different from other species, then the existence of intangible culture is proof that humans are trying to improve their own existence in this world and distinguish themselves from others.

However, placing intangible culture in such a prominent context must be a result of the development of modern society.

In modern society, the various cultural forms such as traditional skills or festival rituals pointed to by intangible culture more satisfy people's spiritual needs, and this need will only occur on the premise that material needs are met to a certain extent.

In other words, intangible culture such as traditional skills or festival rituals in pre-modern society is to satisfy the cultural construction of groups or individuals in productive activities or non-productive activities, and at the same time build a local cultural community; However, in modern society, when intangible culture becomes the object of heritage production, heritage expresses more about the present and the subjective will of people now, that is, cultural forms such as traditional skills or festival rituals of others have become the objects of protection and inheritance in our vision.

At the same time, it also downplays the differences between us and others at the cultural level, and emphasizes diversity.

Dr.

Peter Howard pointed out,"Heritage is not about the past.

Of course, many things and ideas stem from the past, but the legacy is always about how we do it now.

This is not to deny the existence of heritage history, as people have been concerned about preservation and collection for centuries, but to say that the difference between the interests of heritage management and the interests of historians is indeed extremely simple." This shows that the history of heritage is not the same as the history of intangible culture.

That is, from the moment intangible culture becomes heritage, intangible culture becomes the object for others to represent themselves, and it also becomes a proof of the cultural equality of us and others.

This also faces a similar question: After the intangible culture of the other becomes a heritage, the intangible culture of the other is transformed into the culture of the one in our perspective.

As the other, how do we view the one's legacy? By highlighting the protection and inheritance of intangible culture, the Other and We strengthen the cultural construction of modern society and then establish the cultural order of the Other and We.

Since intangible culture can be recognized as heritage in the discourse of heritage, and being recognized as heritage is also one of the processes of heritage production, it is possible for intangible culture that still exists in the modern social space to rely on the model of heritage production to transform intangible culture into heritage in order to gain the discourse power that continues to exist in modern society.

Whether such intangible cultural heritage is world-class, national or local, once it becomes the object of heritage production, the intangible cultural form and the purpose of its existence will inevitably change.

Intangible cultural forms are definitely in the process of evolution.

Therefore, when local societies resort to heritage production, under the influence of heritage discourse, those traditional intangible cultural forms in local societies will inevitably accompany them.

The invention and creation of modernity.

This also means that in the development of modern society, there will never be an absolute traditional intangible culture.

Not only intangible culture in museums can be called heritage, or museum-based intangible culture is not just the only result of the discourse of heritage.

Dr.

Michel Van Praët, who studied heritage and scientific culture, commented: "Since the end of the 19th century, people have realized that traditional heritage, intangible heritage, associated with museums, is in danger.

Not only in the fields of ethnology and history museums, but also science and technology are in such awareness.

For example, the migration of species, although strictly natural, reflection on intangible heritage cannot ignore any protection of processes and phenomena.

Intangible heritage includes culture and nature, while in cultural terms it refers to all acts of creation, as well as acts related to science.

This shows that contemporary science and technology museology cannot be independent of reflection on intangible heritage and related issues." In other words, the main body of heritage production is modern society and the people living in modern society.

Institutions like museums are cultural functional institutions that exist in modern society.Such institutions place cultural forms such as intangible culture in the perspective of protection and inheritance, but it is impossible to separate a certain intangible culture from local society.

Intangible culture has determined from the time it is associated with heritage that it cannot be divorced from the influence of current science and technology and the influence of social development environment.

However, the local society in which heritage is located participates in the process of heritage production and may become the main body of heritage production.

Before the discourse of heritage came into being, intangible culture such as traditional skills and festival rituals was an integral part of the daily life of local society, that is, traditional skills and festival rituals themselves were an integral part of local social cultural production.

Individuals or groups make corresponding handicrafts in order to participate in cultural production, while participating in festival rituals is a way for groups or individuals to build local social relations.

When the discourse of heritage came into being, compared with us who had intangible culture, intangible culture became the culture of others.

Others 'awareness of the protection of our intangible culture seemed to surpass us, but we might have forgotten these intangible cultures.

Intangible culture is recognized as "heritage", handicrafts produced by traditional techniques have become handicrafts in the eyes of others, and festival rituals have become an expression of cultural diversity in the eyes of others.

These heritages satisfy others.

Cultural experience, intangible culture has become a form of cultural performance.

Under the influence of the discourse of modern social heritage, the same intangible cultural form may change from its original purpose of production to its purpose of leisure.

It is undeniable that intangible culture may not only play a productive role in the original local society, but also be accompanied by leisure processes.

For example, festival and ritual activities are themselves carried out in the traditional agriculture or hunting and other production and labor conditions of the local society.

However, the original intangible culture of local society is actually an important part of local social production.

Both the material production of local society and the cultural production of local society are inseparable from various intangible cultural forms.

However, under the influence of modern society, when more and more people living in local societies move towards modern cities and pursue material wealth, the departure of people means the decline of things.

When the intangible culture of others is placed in the perspective of our heritage, intangible culture naturally becomes a culture that is protected and passed down, but the mechanism of modern society's action on people has not undergone fundamental changes due to the existence of heritage.

For example, when intangible culture reconstructs local social relations with the help of museums and heritage, the production of intangible culture in local societies will be affected by these factors.

When Dr.

Elizabeth Crooke studied the impact of heritage and museums on communities, she argued that "if heritage and museums can be legalized as a means of identifying and building community, then it is necessary to question what communities can be shaped like this." Perhaps history is presented) to drive people to think that they are part of the community in order to proactively ask for representation (): they may feel excluded by this new representation, or non-community members may feel further isolated." This also shows that when people from the outside world enter local society to experience intangible cultural heritage, the intangible culture of our production process in local society may be transformed into the heritage of others in the leisure process in modern society, and the intangible culture that originally belongs to others may become part of our intangible culture in modern society.

This process may cause local society to lose its original intangible culture, and these intangible culture may only become the object of heritage production.

The departure of people is the departure of people who originally lived in local society, while the entry of people is the entry of people who are in the discourse field of modern heritage.

In the process of modern transformation of intangible cultural forms, for people in traditional local societies, intangible culture is the object of production; for people in modern societies, heritage may become an object of leisure, but the expression of intangible culture and heritage has changed due to this transformation process.

2.

Intangible culture in the process of heritage leisure

In the context of modernity, intangible culture can on the one hand become a heritage, that is, be recognized as a heritage; on the other hand, it can be divorced from the production logic in the original cultural habitat, that is, production used to be a social relationship, but now it is possible to become an object of leisure and be reproduced.

The subject of leisure may be both the owner of intangible culture living in local society and people outside the local society, such as tourists and consumers.

Under the influence of the heritage context, even intangible culture that is not recognized as heritage may be called heritage by people in local society or external society under the influence of heritage discourse.

The purpose of heritage production seems to be greater than the actual significance of social relationship production for local societies, which demonstrates the particularity of its culture.

Traditional intangible culture, when presented in local societies, is constructing social relationships between people.

Under the influence of intangible culture, people living in local society build social relationships between individuals and families and villages.

The presentation process of intangible culture is the production process.

The legacy of modernity, when it is represented in modern society, is to reconstruct the social relationship between people and the order between things and people.

Local society is a local society under the influence of modern society, and modern society also affects the traditional skills or festival rituals of local society.

It is also people living in local society who, under the influence of heritage, reproduce or perform the original intangible culture in modern society.

The outside world understands the local social culture because of heritage, and the local society also communicates and interacts with the outside world because of heritage.

Individuals with traditional skills have gained new social identities in local societies because of the existence of heritage, such as obtaining the title of inheritors of intangible cultural heritage; the original intangible culture has also been given a similar world-class and national-level understanding and interpretation of discourses such as intangible cultural heritage.

Under the influence of heritage discourse and cultural diversity, the purpose of heritage production is not to re-present the original intangible culture.

Intangible culture modified by heritage discourse, cultural forms such as traditional skills or festival rituals, when reproduced in modern society, may be an influence result of modern people's leisure, that is, heritage leisure.

Heritage leisure means that people use heritage as the object of leisure activities, thereby satisfying people's sensory experience.

But this kind of leisure does not necessarily belong solely to the activities of outsiders.

Under the influence of heritage protection and inheritance, those living in local societies can still participate in the heritage production process during the process of representation of traditional culture, so as to relax in such a process.

In modern society, such as at the individual level, in order to accumulate material wealth, one must work in order to participate in the production process, so the leisure process may not occur simultaneously with production.

However, in the context of heritage, along with heritage production, the original intangible culture also changes the relationship between individuals and intangible culture in the process of recreating and inventing traditional culture in local societies.

Individuals are given the status of heritage producers by inheriting traditional skills or festival rituals, but at the same time individuals are also in the process of leisure due to this participatory process, that is, heritage production and heritage leisure may be in the same process.

Especially when individuals regard inheriting intangible culture as their work content and individuals gain certain economic benefits due to this work content, heritage production may be integrated into the process of heritage leisure.

Especially when the various forms of intangible culture are unfamiliar even to people living in local society today, when intangible culture is characterized by professional knowledge production, when the reproduction of intangible culture is accompanied by The process of demonstrating political and economic power in local society, heritage becomes a kind of capital, and heritage production and heritage leisure are metaphors of various power game processes in modern society.

Especially when heritage leisure has also become a way of external social leisure, such as when tourists and consumers enter local society due to the attraction of intangible cultural heritage, heritage leisure is no longer limited to activities of local society.

Heritage has become a global discourse.

Due to the manifestation of heritage, local societies may more quickly integrate into the development process of modern society.

People's attitudes towards intangible culture have also changed due to heritage discourse.

The original intangible culture may have disappeared or is about to disappear.

Under the influence of local cultural functional institutions and knowledge-production institutions, intangible culture strives to identify itself as heritage as much as possible in the driving force of heritage production.

Even if it cannot be recognized as heritage, try its best to use heritage words to explain it; and may spread it with the help of the power of heritage and leisure from external tourists and consumers.

It is undeniable that for local societies, the original intangible culture may itself be a cultural activity during people's slack season and is non-productive; but under the influence of modern society and heritage discourse, the existing intangible culture may be productive for local societies even if it is presented during the slack season.

The expression of cultural diversity determines the form of intangible culture, which must be represented in modern society by the logic of heritage discourse.

People's understanding of various intangible cultural forms must also be influenced by heritage discourse, and even interpret those intangible culture that has not been recognized as heritage.

Under the influence of sensory experience, especially under the influence of vision, intangible culture may transform into an object of leisure, and intangible culture has become the main object of heritage leisure.

Heritage leisure allows intangible culture to be recognized by modern society, but also gradually replaces intangible culture by heritage, a discourse of cultural diversity.

Intangible culture has become an adjective of heritage, and intangible culture seems to only be dependent on heritage.

Only then can it continue to exist in the development process of modern society.

The existence of heritage production and heritage leisure has made it possible to have inequality in the social and cultural status of intangible culture that has not been recognized as heritage and intangible culture that has been recognized as heritage.

To understand intangible culture through the theories and methods of heritage anthropology, intangible culture is no longer simply a representation of a traditional culture in a modern society, but should also reflect on what kind of modern context and dilemma the users behind the culture face.

Anthropology studies culture through ethnographic methods, and Dr.

Richard Johnson once reflected: "These studies use abstract abstraction and formal description to identify key factors in the overall living cultural ensemble." Culture is read textually).

However, culture is also seen as a reconstruction of users 'social status.

At the level where the individual framework pays more attention to meaning, there is a big difference between structural ethnography and ethnomological approach." When studying intangible culture from the perspective of heritage anthropology, we also need to pay attention to the limitations of traditional ethnographic methods in understanding different local social relations.

The traditional ethnography with a tendency to literary narrative can no longer fully understand so many intangible cultures today in the criticism of poetics and politics, although culture cannot write them in the form of text without anthropology.

Intangible culture in the perspective of heritage anthropology no longer exists just for cultural diversity.

On the contrary, the intangible cultures of different groups are facing the crisis brought about by the power of modern social capital and economic rationality.

Different intangible cultural forms cannot be judged on their status because of whether they are recognized as heritage.

Whether it is recognized as heritage or not, intangible culture should view its significance in modern society with heritage awareness, that is, heritage anthropology explores the significance of intangible culture continuing to exist in people's daily lives, and explores the relationship between intangible culture and people as a whole.

relationship.

In the perspective of heritage anthropology, different individuals consume their leisure time in the process of sensory experience and heritage production.

This process not only affects the understanding of the intangible cultural form of ourselves in local society, but also affects the attitude of others in external society who regard themselves as ourselves towards the intangible cultural forms of many ourselves.

This is the greatest impact of heritage discourse on intangible culture, which places intangible culture as the object of production and leisure.

In other words, the heritage produced by heritage producers is not purely for us or local society, but also for heritage leisure and for others in the external society who seek sensory experience.

At this time, intangible culture no longer only showed local nature, but also showed modernity.

Intangible culture in the perspective of heritage anthropology is itself extremely modern.

It places local culture in the process of global cultural diversity expression.

The original intangible culture becomes heritage, and heritage is not only a local society.

The heritage of society is also the heritage of global society.

In the role of heritage awareness, human society has become a cultural community.

Dr.

David Lowenthal believes that "human culture needs communities and social organization to transcend individual life and connect us to the heritage of our ancestors and our heritage to our children and grandchildren." The community closely connects the dead, the living and the unborn." Intangible culture is local culture, but heritage is an expression at the level of a class.

Calling intangible culture heritage means that this culture transcends individuals at the level of a class and continues to influence human society.

The reason why words similar to intangible cultural heritage are used shows that the existing heritage discourse cannot include all the creations of human society, and the heritage needs to be further subdivided, but this subdivision does not mean that there is inequality between different heritages.

Intangible culture may be divided into central culture and marginal culture, but when these cultures are placed in the discourse of heritage, and people's senses are experiencing this culture, heritage is no longer rigidly adhered to the center and the margins., is no longer just a culture in the perspective of others and ours, and is no longer just an object of pure protection and inheritance.

In the process of heritage production and heritage leisure, intangible culture has become a global culture, and once foreign culture may have been recognized as heritage.

Foreign culture has become a heritage of the same domain in the global perspective.

The boundaries between us and others may gradually blur in the perspective of heritage.Although heritage also has different forms like intangible culture, the existence of heritage leisure makes intangible culture transcend the expression of local social particularities.

Whether it is traditional skills, handicrafts, food culture, traditional architecture, festivals, dance, music and other content can be spread and influenced to other regions of the world under the influence of heritage leisure, with the help of mass tourism, modern media and other media.

When the cognitive logic of modern society places human cultural cognition in the binary world of material and spirit, it seems that intangible culture is a rebellion against this binary division, that is, modern society places too much emphasis on material possession, so that people seem to be lost in the spiritual level.

It is based on this that we can understand the effort that the intangible in intangible culture seems to be separated from the material material in material culture in the Chinese context, or the intangible cultural heritage in Western discourse, when placed in the Chinese context, we should think about the question of how we deal with the relationship between the cultural discourse system of ours and the cultural discourse system of others.

Intangible culture is another expression of material culture in intangible culture.

It is impossible for human society to completely subvert the dichotomy between material and spirit while creating the concept of heritage.

At least the current development of human society cannot transcend this dichotomy.

This seems to be the reason why there is intangible cultural heritage in the Chinese context.

The existence of the concept of heritage is a revision of the logic of modern society.

Intangible culture is not purely spiritual culture.

Similarly, intangible culture is not completely insulated from matter.

The existence of man himself is the dual coexistence of matter and spirit.

It is impossible to create a monistic world of absolute spirit in the perspective of heritage anthropology to cater to man's spiritual needs.

Therefore, even if intangible culture is in the process of heritage leisure, it is still a culture that exists around people themselves and is the result of the role of heritage consciousness.

In modern society, this awareness allows cultural forms to have multiple expressions, and also makes it possible for people to transition their understanding of cultural forms from intangible to heritage.

3.

Cultural form from intangible to heritage

People's perception of themselves changes with their understanding of culture, which is the essential attribute of people.

Whether it is material culture, intangible culture, or intangible culture, people's understanding of our culture and people's understanding of other culture affect each other.

At the level of the whole class, the understanding of culture also goes through the process of explaining the other and reflecting on the ourselves.

The other and we coexist in the cultural community of human society.

From the perspective of the other, all cultures other than us can be called the other; from the perspective of the other, the culture that calls itself us has also become the other in the eyes of the other.

Treating the culture of the other as a culture that coexists with us, and the culture of the other and our are both cultures in a quasi-whole is one of the results of modern society's appeal for cultural diversity.

Whether various cultural forms existing today can be recognized as heritage does not seem to matter.

What matters is how heritage discourse affects different cultural forms at the overall level.

Especially from heritage production to heritage leisure, heritage is constantly changing various existing cultural forms.

Under the influence of heritage discourse, various cultural forms are trying to use heritage discourse to explain themselves, regardless of whether such cultural forms are recognized as heritage.

Various cultural forms in the perspective of heritage anthropology are no longer rigidly limited to the local nature of culture, nor are they just constructing others in the perspective of ours, but are placed in cultural diversity at the level of a whole.

The logic of sex and modernity.

Whether different cultural forms are endangered or whether their own cultural changes are gradually not valued by people in the logic of capital economic rationality in modern society, they should review and reflect on their existing contexts.

More importantly, human beings themselves realize that different cultural forms should coexist in the development process of modern society and in the cultural community of human society.

The development of modern society should not come at the expense of partial disappearance of cultural forms.

Therefore, the form in which cultural forms continue to exist does not only reflect the specific content of cultural forms, but also the attitude people take towards existing cultural forms, their attitude towards their own "species", and their attitude towards humans.

In the modern world system, the marginal other cultural form has faced the historical process of being colonized, the process of being constructed as the other, the central and marginal capital economic pattern, and the West and non-West.

Different discourse power systems.

Culture can not only be used to highlight the diversity of human culture, but also be a reason to explain the advantages and disadvantages of a certain group or region's economic status.

When the cultures of different regions and nations are placed in the public's vision through modern media, and presented in the horizons of consumers and tourists through the construction of consumer society and tourism society, different cultural forms are for people in different regions.

It is not only a resource to adapt to modern society, but also a means to express the diversity of human culture.

The problem is that when various cultural forms are called intangible culture on the level of emphasizing spirit, the mechanism behind it may still be another way of expression of heritage discourse.

The humanity that cultural forms try to highlight is always influenced by the political and economic power behind its region and group when facing the modern capital economic system, and may once again become an appendage of economic capital.

From intangible culture to heritage, the corresponding cultural form has definitely changed with the development of modern society.

Therefore, the intangible culture expressed by heritage does not solidify the original cultural form, nor does it just blindly emphasize the protection and inheritance of intangible culture.

Culture is a human attribute.

If people's daily lifestyle has been changed by modern society, then the intangible culture related to people will inevitably change.

Intangible culture can only protect it in the development process of modern society.

Inheriting, if it has disappeared from people's daily life, then its pure protection and inheritance will inevitably lead to a distance from people.

Although discourses like "intangible cultural heritage" integrate intangible culture and heritage into the expression process of cultural forms, if such expressions do not once again embed intangible culture into people's daily lives in local societies, then this expression may be just a generalization of the power of heritage discourse and has little to do with the practical significance of how cultural forms are expressed.

If cultural forms can rely on the power of heritage production and re-embed cultural forms into people's daily lives during the process of heritage leisure, then such intangible culture may continue to exist in local society and gain people's recognition and acceptance.

From the perspective of intangible cultural heritage, intangible culture is a form of heritage and a process of cultural development.

Therefore, between intangible culture and heritage, there is no order in human society's cognition of cultural forms.

Intangible culture is not an early cognitive form of heritage, and heritage is not necessarily the final cognitive form of intangible culture.

It is undeniable that the discourse of heritage has aroused people's attention to intangible culture, but this does not mean that existing intangible culture can definitely be recognized as heritage.

Intangible culture recognized as heritage has naturally become the focus of attention of local society and external society, and its emphasis on protection and inheritance has naturally become the focus of this cultural form at this stage.

Heritage cannot be produced, nature cannot be protected, let alone passed on, and heritage leisure is also impossible.

If heritage production is divorced from the existing daily life of local society and is at a certain distance from people, it is probably just a kind of solid protection.

Even if such heritage is protected in specific places and a small number of inheritors possess superb traditional skills, if it cannot be embedded again in daily life in modern society, then such protection may only be protection beautified by modern technology.

If people can only understand a certain form of heritage through pictures, audio and video, and cannot find this intangible culture in the daily life of local society, it just shows that this intangible culture will inevitably face the fate of extinction.

That is to say, if heritage production cannot be embedded in people's daily lives, then such production is only an appearance production, and may only withdraw the intangible culture corresponding to heritage from local society in order to protect and inherit intangible culture is recognized as heritage.

There is a paradox between the cultural diversity expressed by heritage and the global integration emphasized by modern society.

When studying globalization and heritage protection, Dr.

Federico Lenzerini soberly pointed out that "in an era where globalization is effectively uncontrolled, people's identities are at risk and subject to restrictions and plunder by mainstream society.

Taking into account the fact that cultural identity and the protection of intangible cultural heritage are inextricably linked to inheritance to future generations, the unique patterns and practices of modern society may lead to the extinction of people's culture-different social and cultural communities will also disappear as their unique cultures fade away." On the one hand, human society expects to protect and inherit different cultural forms as much as possible through heritage discourse, thereby highlighting the particularities of the cultures of different regions and countries; on the other hand, it expects different regions and countries to integrate into economic integration as much as possible.

In the process, the phenomenon of heritage commercialization is probably the most true reflection of this paradox between different cultural forms and the development of modern capital economy.

In the role of heritage discourse, if intangible culture cannot find a balance between production and non-production, or if intangible culture cannot find a connection between heritage production and heritage leisure, then even if cultural forms can be transformed from intangible culture.

Transition to heritage, such heritage cannot truly be in the process of heritage production.

Such heritage production may become another model of modern capital economic production, and heritage leisure may be just a reason to promote heritage production under the premise of pursuing material wealth.

Intangible culture itself is the object of production and leisure in human society.

For example, making traditional handicrafts in traditional society is a production activity that utilizes non-productive time for producers, that is, the producer's activity not only contains The production process for producers to produce traditional handicrafts, but also another way for producers to relax.

When such intangible culture is recognized as heritage, under the pressure of protection and inheritance, making traditional handicrafts may be work for producers, a production activity that utilizes productive time, and a modern society.

A kind of heritage production under the economic rationality of capital, and the main body of heritage leisure has also changed.

It is not the producer, but the audience watching the producer's process of making handicrafts.

Although the social factors of production and leisure may be divided into different social activities in the existing operation mode of intangible cultural heritage, intangible culture may become a resource of heritage production.

Intangible culture is no longer affected by traditional solar terms and seasons.

Any time that can be worked can be used for activities related to heritage production; whenever the audience is present, intangible culture can become the object of heritage leisure, festival dance can be performed every day, and traditional skills can be watched every day.

Intangible culture can be interpreted in heritage discourse, thus highlighting the diversity of human culture and the importance of human social and cultural community.

However, if the existing intangible culture can only continue to exist by being recognized as heritage, then there may be inequality between different intangible cultures because of heritage discourse, which is reflected in the process of protection and inheritance, and even there may be inequality of cultural power between heritage and non-heritage.

According to Dr.

William S.Logan,"legacy is the result of the selection process." Heritage does not stem from everything in our history.

Heritage and history are not the same, nor are they the same.

The purpose of heritage protection is to pass on these selected things and their values completely and under real conditions." It can be said that heritage is the result of a choice made by human society when facing different cultural forms, and heritage is not completely equivalent to intangible culture.

Therefore, the study of heritage anthropology means that existing intangible culture can be placed in the logic of heritage, but it is by no means just placed in the logic of heritage identification.

Putting intangible culture that has not been recognized as heritage into the perspective of heritage anthropology means that all intangible culture existing in human society can explain and understand the significance of its existence on the level of cultural value.

Instead of only recognizing it as heritage can it be demonstrated.

Regardless of whether intangible culture is recognized as heritage, putting aside the influence of heritage discourse and emphasizing the protection and inheritance of intangible culture, it is still necessary to find a context suitable for its existence in local society and be divorced from protection and inheritance in people's daily lives., it is just a kind of modern technological protection and inheritance.

Intangible culture itself is embedded in the production and leisure process in the daily life of human society.

The side effects of the development of modern society have caused human society to pay more attention to the material aspects of economic development, and may ignore people's intangible needs.

The emergence of the concept of heritage has placed those cultural forms that are about to face the danger of extinction in the discourse power of protection and inheritance, and has also attracted people's attention to their own intangible culture.

Intangible culture that was originally embedded in social relations cannot face the danger of being disembedded in people's daily lives because of the existence of the concept of heritage, nor can it rely too much on modern scientific and technological means to protect and inherit it purely, without considering modernity.

The impact of society on people's daily lifestyles.

Only when intangible culture is once again embedded in people's daily lives and returns to the essence of production and leisure can it continue to exist in the development process of modern society.

Heritage anthropology does not place intangible culture in the binary classification of foreign and co-domain, other and us, but attempts to reflect and criticize intangible culture on the level of a whole and in the overall cultural community of human society.

The function and significance of intangible culture in the development process of modern society, and the possibility of continuing to exist in people's daily lives.

(This article is published in "Folk Customs Research", issue 2, 2020, with the annotations omitted, see the original issue for details)