[Niu Guangxia] The survival context and integrated communication of traditional folk customs in the "post-intangible cultural heritage era"
Abstract: In the "post-intangible cultural heritage era" when intangible cultural heritage shifts from "re-declaration" to "re-protection", traditional folk customs are facing media ecology such as the "all-media turn" of information dissemination and the "visual turn" of contemporary culture.
In order to achieve better development between many elements of unity of opposites such as tradition and modernity, secularism and sanctity, local and global, cultural construction and industrial development, traditional folk customs such as the Taishan Dongyue Temple Festival in the "post-intangible cultural heritage era" must conform to the realistic context of a media society, and should respond to the media ecology of the "all-media shift" of information communication in the all-media era and the "visual shift" of contemporary culture to enhance community participation, from communication content, communication subjects and platforms, Carry out more diversified integrated communication at levels such as communication forms.
Keywords: "Post-Intangible Cultural Heritage Era"; traditional folk customs; Mount Tai Dongyue Temple Festival; survival context; integrated communication
After China became a party to the UNESCO Convention for the Protection of Intangible Cultural Heritage in 2004, the concept of intangible cultural heritage entered China.
In the past ten years, more than 4000 intangible cultural heritage items in China have been successively selected into the world, national or provincial, municipal and county lists.
As a result, various activities related to the protection of intangible cultural heritage from the national to local governments have been vigorously carried out with the leadership of the government and the active participation of all parties in society, becoming an intangible cultural heritage protection movement.
The launch of the intangible cultural heritage protection movement has further stimulated Chinese people to re-evaluate and recognize the value contained in folk culture.
At the same time, the concept of "folk culture" has almost been replaced and referred to by the concept of intangible cultural heritage.
The "heritage" process of folk culture is a series of standard setting, value evaluation and symbol construction around the mechanism of the intangible cultural heritage list.
Its essence is "the intervention process of knowledge discourse in the field of heritage." As Gao Bingzhong pointed out,"intangible cultural heritage" also corrects the name of folk beliefs and returns them to their standard in public knowledge, thereby enabling temple fairs, local religions and other bottom-level cultures that are part of intangible cultural heritage that come from people's daily lives can be included in the list of "public culture."
As an integral part of China's traditional folk culture, temple fairs are a cultural phenomenon that truly comes from the people and breeds and breeds on temples in land with different regional customs.
It is said to be a "living fossil" in traditional culture, and "catching up with temple fairs" has also become the cultural memory of many China people.
Liu Tieliang said that temple fairs in urban and rural areas in China are one of the basic practice models of Han folk religion, and have the dual purpose of worshipping gods and fairs.
Most temple fairs are not only places where people thank the gods and pray for Naji, but also places where they can intensively appreciate and feel local traditional folk culture and conduct business activities.
Ye Tao commented on this nature of temple fairs: "Temple fairs are produced by the power of faith and then develop with the active participation of believers.
In essence, temple fairs are a culture of faith.
At the same time, based on the belief characteristics of temple fairs, the attached characteristics of temple fairs are derived, which is the content of cultural entertainment and commercial transactions active in temple fairs."
Temple fairs with strong local characteristics and passed down by local people from generation to generation vary in size, or are located in downtown areas or live in famous mountains and countryside.
They are all important parts of folk culture.
After the protection of intangible cultural heritage in China was launched, many of them were listed as intangible cultural heritage at different levels, such as initially formed in the Han Dynasty, developed in the Tang and Song Dynasties, and later flourished in the Yuan, Ming, Qing and Republic of China.
The Mount Tai Dongyue Temple Fair, which has been passed down for thousands of years, is an important part of China folk culture and Mount Tai culture.
It is a big stage to showcase China folk culture and a typical representative of the world temple fair culture.
People realize that it is precisely because of the ancients 'admiration for Mount Tai and their worship of the Dongyue Emperor and the Bixia Yuanjun, as well as the celebrations such as the Fengshan Ceremony held by emperors in Dai Temple, the religious activities of Buddhism and Taoism, and the people's pilgrimage to the mountains that a temple fair with sacrificial activities, trade activities and entertainment activities as the main content was formed in the Dai Temple area.
In 2008, the Mount Tai Dongyue Temple Festival was included in the second batch of national intangible cultural heritage list, becoming a living form of intangible cultural heritage with the highest participation and interaction among ordinary people in Mount Tai culture.
Feng Jicai proposed the concept of "post-intangible cultural heritage era" in 2011.
He believed that after the completion of the identification of intangible cultural heritage, the protection and inheritance of folk culture have a long way to go.
When "we have entered the era of 'post-intangible cultural heritage', that is, the era after completing the identification of 'intangible cultural heritage'","after basically completing the rescue and identification of 'intangible cultural heritage', we are done and no longer care where it goes? Of course not." When the craze for intangible cultural heritage protection as a "movement" receded, the questions raised by Mr.
Feng Jicai and the negative answers he gave remained applicable, reminding us to rationally understand the reality of traditional folk customs in the "post-intangible cultural heritage era", and actively take measures to deal with some phenomena that have emerged with a sense of crisis.
This paper takes the Taishan Dongyue Temple Festival as the main inspection object, analyzes the living context of traditional folk customs in the "post-intangible cultural heritage era", and explores how to use new media technology and more diverse communication platforms to integrate communication, so as to meet the inherent logic requirements of the ubiquitous era of communication, thereby enhancing the communication ability and effectiveness of folk culture.
1.
The realistic picture of traditional folk customs in the "post-intangible cultural heritage era"
The shift of folk culture to intangible cultural heritage discourse is not just a replacement of words, but a modern civilization concept that China recognizes "intangible" and "spiritual" heritage.
It is in line with the endangered dilemma faced by folk culture, especially traditional folk customs.
It also provides a legal discourse basis for protecting cultural diversity.
Due to the development of tourism or other related industries by local governments on cultural heritage sites such as folk customs, it has produced a value-added effect of cultural capital, and its "internal value" and "external value" have been significantly improved.
It seems that the entire social political, economic and cultural systems have achieved a shift from the edge to the center, winning attention and more attention.
For example, after the Taishan Dongyue Temple Festival was included in the second batch of national intangible cultural heritage lists, it has been organized annually since 2009 with the theme of "Visiting the Dongyue Temple Festival, praying for peace and blessings".
It is hosted by the Tai 'an City Government and entrusted the Taishan Scenic Area Management Committee and Tai' an Media Group and other units to jointly organize the event, set up a special planning team, designed the temple festival emblem and the Taishan mascot "Four Xi Boy", and successively launched Cross-Strait Folk Culture Exchange Week, China-South Korea Folk Culture Week, In addition to traditional projects, the annual implementation plan for activities such as Taiwanese believers praying parades strives to be innovative.
However, this superficial prosperity of folk culture is only a superficial appearance.
In the continuous process of industrialization, modernization and urbanization, temple fairs, like many other folk customs, are facing the decline of temple fairs to varying degrees as rural society is eroded and rural sacred spaces are compressed.
Problems such as the widespread temple fairs being built into tourist landscapes by local governments for the purpose of "establishing a cultural stage and performing economic operas" and tending to industrialization tourism."
Although the "Intangible Cultural Heritage Law of the People's Republic of China was promulgated in 2011 as a special law to provide a legal basis for intangible cultural heritage protection, governments at all levels and relevant departments have indeed taken many measures on intangible cultural heritage protection after becoming one of the important subjects of intangible cultural heritage protection.
However, the current situation of the survival and development of many folk cultures is still not optimistic, and they still face many obstacles and some misunderstandings on the road of inheritance and dissemination.
Particularly prominent is the alienation crisis brought about by excessive marketization and industrialization to traditional folk customs.
For example, Cao Hezhi pointed out during a field inspection of the Miaofengshan Temple Fair in Beijing, which was also selected into the second batch of national intangible cultural heritage list, that the restored "Miaofengshan Traditional Temple Fair" is not completely a return to the past traditional temple fair, but adds some elements and links based on economic interests.
These practices weaken or eliminate the solemnity and sanctity of the ceremony, making the traces of performance and stage more intense.
At the same time, nowadays, at various temple fairs, especially those located in famous scenic spots, tourists for tourism purposes far exceed those who truly visit the temple because of their pious religious beliefs.
Liu Xiao also analyzed the results of the "Taishan Folk Beliefs Questionnaire" conducted by the Taishan management department and pointed out that the large increase in tourists has actually not promoted the increase of pilgrims.
The backbone of Mount Tai's pilgrims and temple fairs are still the geographical areas radiated by traditional Taishan beliefs, especially around Mount Tai, various parts of Shandong, and adjacent provinces and regions in Shandong.
The carnival nature of temple fairs has been further strengthened in the context of the intangible cultural heritage protection movement, and the dilution of participants 'religious beliefs has become an unavoidable and common phenomenon.
For most tourists with a playful mentality,"religious practice is neither universal nor primary, and even if it exists, it is often reduced to an entertainment or a transaction." Such phenomena inevitably cause the interpersonal relationship model for the purpose of commodity exchange to penetrate into the temple fair.
This is different from the old self-organized temple fair mechanism based on human-god communication.
Participants in the old and new systems cannot communicate well, which naturally leads to poor communication, and tensions and conflicts between tourists and the temple fair occur from time to time.
During the investigation, the author found that the Taishan Dongyue Temple Fair currently has some bottlenecks that restrict the development of temple fairs, among which there are two most prominent problems.
The first is the problem of insufficient interaction between the government and the private sector, and the lack of organization and coordination between the management department and the undertaking department.
The temple fair in the first two or three years after the successful application for the world heritage was highly valued by government departments.
The mayor in charge was in charge.
Relevant departments actively participated.
Leaders of each department coordinated collective work and mobilized their own resources to support the temple fair.
But to this day,"the superior departments are no longer involved, leaving only the grassroots departments that implement the specific implementation struggling." Second, the temple fair was originally allocated 1.5 million yuan by the Taishan Scenic Area Management Committee, and has been reduced year by year.
Up to now, it must be completely market-oriented.
The financial investment from higher levels is zero.
The temple fair organizer has to pay for various activities through investment promotion.
The expenses required will inevitably cause traditional folk customs to suffer the above-mentioned excessive marketization and industrialization crisis.
In addition, in a modern consumer society where people's lifestyles, cultural and entertainment choices are more diverse, temple fairs, whether they are located in cities or rural areas, or in scenic spots like the Taishan Dongyue Temple Fair, are facing the increasing number of participants to varying degrees.
The situation of aging and young people's lack of interest in them.
In a survey conducted by the author, even local young people in Tai 'an not only knew little about the Taishan Dongyue Temple Fair, but were also not enthusiastic about participating.
Among the 100 people, only 37 had ever participated in a temple fair.
As a folk activity mainly characterized by group and national character, temple fairs will lack vitality and motivation if the participation of generations of young people as a new force is lost, no matter how much efforts the government spends to organize and protect them, the subsequent development of temple fairs will lack vitality and motivation.
The strong rise of the all-pervasive market economy and mass culture in contemporary society, as well as the impact of many factors such as globalization and modernization, have led researchers to pessimistically conclude that the current temple fair is facing an overall crisis of "shrinking scale, no successor, and loss of tradition".
These are core issues related to the survival and development of temple fair.
Of course, we must realize that temple fairs arising from farming society are not static.
They are inevitably influenced by the social context in which they are located and are directly related to the needs of the people at that time.
Temple fairs used to have important functions such as visiting incense and paying homage to Buddha, spring outing and social intercourse, entertainment and material trade.
In the current era, in addition to visiting incense and paying homage to Buddha related to religious beliefs, other functions can basically be replaced by highly developed modern commerce and services.
What people nowadays expect most from temple fairs is the traditional cultural symbols they accumulate.
Chen Qinjian also pointed out in his research on the Longhua Temple Fair in Shanghai that this is its significance and value as a traditional cultural heritage, and it is one of the scarce resources in contemporary society and urban civilization after many traditional cultural concepts and lifestyles have been disrupted in modern times.
Therefore, cultural communication has become the most important social function of traditional folk customs such as temple fairs at present, and all protection, development and utilization of intangible cultural heritage should be carried out closely around this goal.
2.
Community participation and integrated communication in a media-based society
In Article 2 of the International Convention for the Protection of Intangible Cultural Heritage adopted by UNESCO in 2003, the theme word "protection" is interpreted as "refers to various measures to ensure the vitality of intangible cultural heritage, including the recognition, documentation, research, preservation, protection, publicity, promotion, inheritance, especially through formal and informal education) and revitalization." In the entire chain of intangible cultural heritage protection, the propaganda link at the middle position is a very important link and plays a connecting role.
This is because on the basis of completed confirmation and filing, subsequent research, preservation, protection, promotion, inheritance and revitalization are all very closely related to publicity.
1) Wilbur Schramm, the father of contemporary context communication in a media-based society, believes that communication is a tool through which society can be formed.
As a carrier used to filter, expand and extend information transmission in the process of communication, the media is actually a public sensory organ, nerve center and communication muscle system.
Audiences use the "mimicry environment" created by the media to screen and reconstruct information to perceive the external world they live in and appreciate the environmental monitoring of the media.
The function of social integration and transmission of social heritage, laws and customs.
The rapid iterative update of media technology has brought about the prosperity and development of the media industry and the diversification of communication platforms and terminals, making modern people increasingly feel the ubiquitous and ever-present influence of media.
"The media is increasingly penetrating into all aspects of social life, and the media society has become the context of our times." This conclusion is an unavoidable reality picture.
In such a media society where media influence penetrates in all directions and communication platforms are promoted by all media, people realize that "media is a process of mutual influence between media and other social categories or fields.
Medialization does not mean the explicit 'colonization' of other fields by the media, but rather the interaction and increasing interdependence of media, culture and society." As a living culture created, enjoyed and passed down by the broad masses of people in a country or nation, the positive interaction of folk customs with media communication and social economic and cultural construction in the process of media-based society not only allows folk culture to be continued and passed down from generation to generation, and ultimately becomes the cultural memory of every community member, and is also conducive to the cultivation of national identity.
2) The protection of folk culture under the concept of community participation The International Convention for the Protection of Intangible Cultural Heritage adopted by UNESCO in 2003 has repeatedly emphasized the three concepts of "community","group" and "individual" that often appear in an integrated manner.
When defining the concept of "intangible cultural heritage", it clearly states that it should be "regarded as part of their cultural heritage by various communities, groups, and sometimes individuals." It should also be "constantly recreated as communities and groups adapt to their surrounding environment and interact with nature and history" and "passed down from generation to generation", clarifying that the purpose is to "provide these communities and groups with a sustained sense of identity, thereby enhancing respect for cultural diversity and human creativity." It is necessary to raise people's awareness, especially the younger generation, of the importance of intangible cultural heritage and its protection.
The International Convention for the Protection of Intangible Cultural Heritage also mentions that in all aspects of the protection of intangible cultural heritage,"efforts should be made to ensure the maximum participation of the communities, groups, and sometimes individuals that create, continue and inherit such heritage, and to attract them to actively participate in relevant management." It can be seen that advocating the diversity of people's participation is a guideline running through the International Convention for the Protection of Intangible Cultural Heritage, and emphasizing "community participation" is its core concept.
The community here refers to "the social network composed of people who have a sense of identity or continuity from historical connections rooted in intangible cultural heritage practices."
Achieving community participation in intangible cultural heritage protection is based on raising people's awareness, especially the younger generation, of the importance of intangible cultural heritage and its protection.
This requires efforts and brains in publicity, so that under the above-mentioned unsatisfactory living conditions of traditional folk customs, more people can know the cultural connotation and value essence of folk customs, so that protecting these living cultures jointly created and recognized by the common people has become Everyone's universal will and matters of common concern to build a diverse discourse system of traditional folk customs.
Feng Jicai put it into practice and called on experts and scholars in the intellectual community to participate in the protection of intangible cultural heritage from four aspects: "One is scientific protection, the second is widespread dissemination, the third is utilization and promotion, and the fourth is academic research." However, this diverse discourse system not only requires the participation of government department staff, experts and scholars, and also mobilize as many public as possible to participate.
From 2008 to the present, the Taishan Dongyue Temple Fair has planned and launched new projects every year.
Special cultural and economic activities that reflect the characteristics of the temple fair, such as calligraphy and painting exhibitions, folk collections exhibitions and Chuiwan seminars, national fitness challenges, cultural and creative product displays, have become an integral part of the temple fair and become a useful extension of spreading temple fair culture.
The organizers of the temple fair also teamed up with associations and associations in Tai 'an universities.
During the temple fair, some contemporary activities were held in Dai Temple, such as the Youth Programming and Design Competition, the display of Han costumes for college students and other cultural activities, striving to attract young people to participate in the temple fair.
Other activities include performances by Peking Opera fans mainly composed of middle-aged and elderly citizens, yoga performances mainly composed of women, and "Today I Go to the Temple Fair" essay solicitation for primary school students.
The planning and design purpose of these activities is to attract people at all levels in the area where Dai Temple is located to participate in and pay attention to the temple fair, and to enhance community participation in the temple fair.
Although these activities seem to be contrary to the atmosphere of traditional temple fairs because of their modern color, from another perspective, although the origin of temple fairs originated from folk beliefs, it was originally a collective carnival with a strong pyrotechnic atmosphere.
It has always been a concentrated display of the people's lifestyle at that time.
The addition of these activities not only gathers popularity, but also fully reflects the changing characteristics of temple fairs with time and strengthens community participation.
The unity of inheritance and variability is the basic characteristic of temple fairs as folk culture.
Temple fairs in different historical periods have different contents and landscapes.
Whether it is the government's intangible cultural heritage policy, scholars 'academic research results, and ordinary people's understanding of folk culture, they must be realized through communication.
3) Integrated communication of folk culture in the all-media context At present, old and new media are gradually integrating, and the media landscape and information dissemination have undergone profound changes.
We are already facing the "all-media turn" of information dissemination and the "visual turn" of contemporary culture.
This media ecological environment.
McLuhan, known as the "media prophet", once pointed out that "new media is a new environment." He believed that "the impact of any media (i.e., any extension of people) on individuals and society is caused by new scales; any extension of ours, or any new technology, must introduce a new scale into our affairs." Then, as cyberspace has become a new important space for contemporary people's production and life, and visual culture is booming, the public communication of folk culture must inevitably follow the trend and innovate, considering how to integrate communication resources in the all-media era, and use modern media technology to enhance and strengthen the image dissemination of traditional folk culture such as the Taishan Dongyue Temple Festival in addition to written means.
1.
The multi-dimensional integration of communication content integrates communication content in the relationship between folk customs and people, geographical space and daily life.
The temple fair is a centralized display place for regional folk customs, production and trade.
Therefore, the spread of the Taishan Dongyue Temple Fair should not only be the etiquette and activities directly related to the cultural space of the temple fair, but also the dissemination of the humanistic spirit of the etiquette presenters and viewers, as well as the Taishan shadow play, Shandong Bangzi, Wenhe Drum, Taishan paper-cutting, Taishan gourd, The living conditions and stories of the performances of traditional handicrafts in the Taishan region such as Taishan sugar people and noodle people promote and display Taishan culture through the combination of folk beliefs and secular life.
Because people are the most vibrant carriers of all folk customs, we can show the cultural traditions behind the folk ceremony and process of the Taishan Dongyue Temple Festival through the stories of various people, such as its prayers, sacrifices, gratitude, remembrance and other multiple cultural connotations, and reflect its development process and existence in daily narratives, and dig deep into the historical, religious, philosophical and artistic elements covered by traditional China folk customs as folk culture over thousands of years.
And the life ideals and leading values of the Chinese nation that it contains.
2.
Integration of communication platforms and entities Due to the rapid development of mobile Internet and social media brought about by digital communication technology, the original books, newspapers, radio, television, and movies as traditional media are all affected by the emerging new media using the Internet as a carrier.
The impact of media has not only opened various exclusive virtual communities such as Zhihu, Tianya, Tieba, etc.
for netizens to communicate and share experiences with each other, Weibo, WeChat, Fast Hand, Various social media such as Douyin have also become the main source of information for netizens, especially young people, because of their strong interactivity, speed and vividness.
The "self-media era" in which everyone is media gives everyone the right to speak, allowing everyone to become a communicator and participate in it, providing the possibility for the people to participate independently.
In this new media ecosystem, the dissemination of folk culture must also be good at making good use of old and new media platforms.
In addition to making full use of traditional media, new media platforms such as Internet-based online communities, Weibo, WeChat Friends Circle, Weixin Official Accounts, Short Video, and online live broadcasts must achieve the greatest degree of "community participation", integrate hot topics of concern to the public, make communication channels and communication subjects more diversified, and enhance people's sense of identity and belonging to folk culture.
It is worth noting that in the process of realizing "community participation", due to the special "social" and "instant interactivity" of online live broadcasts, more attention should be paid to its utilization and the establishment of Taishan Dongyue Temple Conference layer culture in the context of new media, thereby promoting the development of related activities and groups.
During the Taian Media Group's hosting of the Taishan Dongyue Temple Fair from 2016 to 2018, it relied on new media channels that young people are paying more attention to nowadays, such as the Zaker news client and the "Geng Tai 'an" Weixin Official Accounts, to spread it, and encouraged tourists to scan the official QR codes posted during the temple fair to participate in related activities, post comments and share them in circles of friends.
At the same time, it has also introduced popular forms of communication among the new generation of online people such as celebrity live broadcasts, online celebrity live broadcasts and flash drives to carry out multi-level interactions online and offline, forming a complementary symbiosis between online temple fairs and physical temple fairs.
Of course, according to the research classification of relevant scholars, such content belongs to promotional live broadcasts carried out in conjunction with folk cultural activities, and still has shortcomings such as weak impact effect, insufficient stamina, and difficulty in being accepted by the live broadcast audience at the first time.
3.
Diversified integration of communication forms.
Literary works such as "Water Margin","Marriage Story of Awakening the World","Travels of Lao Can" and the Yuan Opera "Liu Qianbing Beat a Unicorn" contain direct and detailed descriptions of the Dongyue Temple in Mount Tai.
The history of human communication has developed from hieroglyphs to today's hypertext era.
For folk communication, words, pictures, audio, and images are used as communication symbols to build communication patterns including documentary short films, TV series, movies, games, animations, illustrations, sand paintings, H5 and other all-media era.
Writer Wang Canguo created the first full-length mythological novel "Taishan Boy" in China based on the mascot of the Dongyue Temple Fair "Taishan Sixi Boy", and held a launch ceremony and book signing activities at Dai Temple Hanbai Courtyard during the 2019 Taishan Dongyue Temple Fair.
Compared with flat written media, visual communication is more in line with the era of mass culture that we live in, where sensory and image consumption is the main focus.
Gao Mantang, a well-known screenwriter who has written popular Lu dramas such as "Breaking the East" and "Old Farmers", was invited to create a TV series about Mount Tai.
If the scenes and related plots of the Mount Tai Dongyue Temple Fair are placed in the ups and downs of the plot, then with the help of the power of popular TV dramas, the Mount Tai Dongyue Temple Fair may achieve better communication results, which is undoubtedly a good opportunity to spread temple fair culture in the contemporary era.
The advent of visual culture is an indisputable fact.
Its essence is "highly visual culture".
Today, countless visual forms and visual technologies have participated in the construction of this culture.
"The turn of visual culture" has also become another distinctive feature of contemporary culture.
In particular, the popularity of mobile Internet and smartphones has made "Short Video the most vital media products in visual culture, leading and representing the development of the media industry in the Internet era.
New trends".
Due to the vivid and intuitive reproduction of situations by images,"Image Records" have become an indispensable audio-visual text for the recording and survival of contemporary culture.
In fact, as early as the 1920s, the American social economist Sidney David Gamble (1890 - 1968) produced a documentary short film "Miaofeng Mountain Pilgrimage", which reflected people in North China participating in the Miaofeng Mountain Temple Fair Sacrifice and Folk Performance.
Nowadays, due to the portable and easy availability of filming equipment, image writing has become increasingly popular.
Thematic micro-film competitions, photo exhibitions or VR image exhibitions for society, especially college students, are held before and after temple fairs, gathering images that reflect the culture of temple fairs from multiple angles and comprehensively through the power of the people.
You can also use VR, AR, and MR technologies to open an online temple fair virtual experience center based on websites, so that people who cannot visit the temple fair in person can have an immersive experience.
These are all good means to spread traditional culture and expand the influence of temple fairs.
Diversified image communication practices can bring new vitality to the protection and inheritance of folk culture, promote the radiation of regional culture, and make images present with strong regional cultural characteristics.
3.
Conclusion
Historically, temple fairs have been participated, transformed and utilized by various political and economic forces, especially in the Ming and Qing Dynasties.
The folk culture represented by the Taishan Dongyue Temple Festival has experienced the downgrading and distortion of the "May 4th" New Culture Movement to the "Cultural Revolution" period, and then gradually recovered since the reform and opening up and the "cultural craze" in the 1980s.
Since the 21st century, folk culture has undoubtedly ushered in a historical opportunity for rejuvenation.
The traditional folk custom changes from "folk culture" discourse to "intangible cultural heritage" discourse and then to "intangible cultural heritage" discourse, which exactly meets the needs of cultural construction in China's social transformation period.
As a folk event that has lasted for thousands of years, the Taishan Dongyue Temple Festival is one of the external manifestations of the diversity of folk culture.
From the perspective of cultural genetics, local temple fair culture is a mass activity with local emotions and characteristics.
This activity demonstrates its sacred character through secular forms.
With the intensification of modernization and globalization, it cannot be ruled out that a large number of decorative and performing events and images will enter contemporary folk activities such as temple fairs.
These folk customs spread through various communication entities, communication platforms, and communication methods can only partially truly reflect the folk life of contemporary people, but it is still an organic part of the folk knowledge pedigree of various ethnic groups and regions, helping people to identify and inherit ancient traditional culture.
In the current all-media era where old and new media are integrated, only by carrying out multi-party collaborative cross-media integrated communication of folk culture with a high degree of cultural consciousness can it be maintained, passed on and promoted in the social reproduction of relevant knowledge systems.
Folk customs originate from the habits, fashions, preferences or taboos gradually formed by people in daily life, and are bred by the people's daily life practices.
As Liu Tieliang pointed out,"All folk customs are inseparable from physical practice and have the nature of physical experience." Communication is to allow more people to participate in folk life and use their own physical practices to experience our cultural traditions.
(The original text is published in "Folklore Research", issue 02, 2020, with the annotations omitted, and refer to the original issue for details)