[Zhang Juwen] Ethical issues in intangible cultural heritage from recording to consumption

Abstract: In the process of intangible cultural heritage from recording, protection, research, inheritance to consumption, an issue that is often ignored is ethical issues.

This article first states the ethical principles advocated and followed, emphasizing the combination of discipline ethics with the ethics of being a person in daily life, especially in the recording stage of protecting intangible cultural heritage.

Then, taking the film and television recording of intangible cultural heritage as an example, it discusses the current problems, lists subject examples involving ethics and values, and specifically explains the ethical issues that need to be paid attention to at both the theoretical and technical levels in the film and television recording of intangible cultural heritage traditions.

This paper hopes to establish ethical rules that are consistent with the characteristics of China society and disciplines as soon as possible, especially in the fields of folklore and cultural heritage research.

Keywords: Intangible cultural heritage; ethical principles; ethical practice; on-site recording; image recording

Introduction

At the "International Academic Symposium on the Protection of Intangible Cultural Heritage and the 4th Folk Culture Youth Forum" held at Central China Normal University (in Wuhan and Changyang County) in 2006, I emphasized the ethical issues encountered in field records and mentioned Tolken's story (see below).

I remember that many people were not interested in this topic at that time, because at that time this topic was neither emphasized in textbooks nor a concern in practice.

In 2014, with the help of a cooperation project between the folklore societies of China and the United States, I promoted the "Folk Film and Television Field Recording Workshop", and integrated ethical issues into the entire process from topic setting to recording, from editing videos to publicity, striving to make Every student not only has ethical awareness, but also learns how to practice it.

In 2015, the theme of the second workshop was "Christmas" in the Western United States, and through ethical practice in a different cultural context, students realized the importance and necessity of ethics.

In subsequent workshops, I always insisted that "ethical issues are always a core of the workshop." In the "Folk Film and Television Recording Manual"(2018), which I presided over and edited, ethical issues are also highlighted through discussions on various recording stages, and translations of the ethical rules of the American and Japanese Anthropological Societies and Folklore Societies are included in the appendix.

At the end of 2015, UNESCO adopted the "Ethical Principles for Safeguarding Intangible Cultural Heritage" and provided a background explanation of the Background of the ethical principles for safeguarding intangible cultural heritage, explaining why this ethical principle is needed for intangible cultural heritage?:

Given that the 2003 Convention for the Protection of Intangible Cultural Heritage (hereinafter referred to as the "Convention") regards "community" communities as the core of "intangible cultural heritage", any activities related to intangible cultural heritage must be as much as possible with relevant communities, groups and individuals.

Participation is voluntary, prior, and informed.

Based on the increasing commercialization of "intangible cultural heritage"(including the commercial use of data or audio recording materials without consent and without providing rights and benefits), member states have expressed the need for guidance on relevant ethical operating methods in order to strengthen the implementation of the 2003 Convention.

Here, the discussion of ethical issues echoes this new "Ethical Principles for the Protection of Intangible Cultural Heritage"(hereinafter referred to as the "Ethical Principles").

This is consistent with Article 4 of the 2015 Ethical Principles: All interactions with communities, groups and relevant individuals who create, protect, maintain and disseminate intangible cultural heritage should be characterized by transparent cooperation, dialogue, negotiation and consultation, and be premised on voluntary, prior, continuous and informed consent.

In the Convention's Operational Directions, there are only two relevant recommendations: paragraph 93:"Designated non-governmental agencies should comply with enforceable domestic and international legal and ethical standards."

Paragraph 103:"Encourage member states to develop and adopt ethical rules based on the Convention and the Action Guidelines to ensure that appropriate methods are used to raise awareness of" intangible cultural heritage "in their regions."

From this, we can see that the "Ethical Rules" hope that member states will formulate ethical codes of conduct that are consistent with their respective social backgrounds based on their respective cultural and social conditions.

Therefore, the 12 Rules of Ethics further explain how to promote global efforts to increase consideration of the protection of intangible cultural heritage and explore the ethical dimensions of the 2003 Convention; their purpose is to guide member states and their institutions (government agencies, public organizations, private institutions, civil society organizations, etc.) to develop specific and feasible ethical rules suitable for various "intangible cultural heritage" activities.

In fact, the core spirit of the Ethical Principles is the "recognition and respect" of the "rights" of the owners of "intangible cultural heritage" items (communities, groups and individuals concerned)(see Article 2).

Many scholars and institutions have begun to interpret and suggest this Code of Ethics in many ways, and have also put forward many good opinions.

I hope that relevant disciplines and institutions, at least the Anthropological Society and Folklore Society of China, can formulate relevant "ethical rules" as soon as possible and further improve them in future practice.

Here, I mainly put forward my humble opinions on the basic principles of ethics and the film and television recording of "intangible cultural heritage", hoping to integrate the understanding of the importance of ethics with daily behavior and integrate it into academic activities and social practice.

Basic principles that scholars should abide by

(1) It is necessary to combine the ethical principles of "intangible cultural heritage" with subject ethics, as well as the ethics of being a person and being a scholar in daily life.

Ethical norms are not only the code of conduct throughout a person's life, but also the code of character and continuity of a society and culture.

In fact, it is because mankind has ethical principles that the development of human culture is today; and whenever there is war and turmoil, it is also the time when ethical principles are abandoned because political, military, economic and other interests become priority.

It can be said that Confucian ethical principles are the foundation of Eastern culture, while Aristotle's ethical views are the foundation of the Christian world.

Both Confucius and Aristotle emphasized that consistency in ethical behavior (lifelong, not one-time) is the prerequisite for happiness in life.

Therefore, a scholar's academic ethical behavior must be the continuation of his ethical behavior in life, and must combine the ethics of being a scholar with being a person in daily life (including being a inheritor and practitioner or consumer of "intangible cultural heritage").

Ethical behavior towards protecting "intangible cultural heritage" must also be consistent with the treatment of all human diverse cultural traditions.

This consistency in principle is not inconsistent with the different ethical norms of different cultures, because the premise of all this is "recognition and respect" for all traditional practitioners and the practice of "do not do to others what you don't want you to do to yourself."

(2) On "intangible cultural heritage" and ethical issues, the continuity and maintenance of tradition are the root, and the "results" or "benefits" of protection are the leaves.

We cannot put the cart before the horse.

The ethical behavior of protecting "intangible cultural heritage" is reflected in multiple levels, especially in the interaction and integration of multiple cultures: some involve core beliefs and values; some are in variable daily expression behaviors.

Therefore, we must have a deep understanding of relevant cultural traditions in order to be reasonable and reasonable, rather than putting the cart before the horse.

At the same time, in the process of protecting "intangible cultural heritage", recording, research, inheritance and dissemination, development and innovation, as well as sales and consumption are all necessary links.

The ethical behaviors in them involve everyone in the whole society.

Therefore, this is also a problem for the whole society, not a problem for a certain institution, discipline or group.

Similarly, in today's era of globalization, transnational tourism and import and export trade have become daily, and the understanding and consumption of foreign cultures have become daily.

Therefore, the understanding and consumption of "intangible cultural heritage" or traditions in so-called "foreign cultures" also need to follow the basic principles of "recognition and respect."

In short, in daily life,"intangible cultural heritage" or other traditional material consumption and spiritual consumption are inseparable sides, and as consumers and practitioners or researchers (or protectors) are also two inseparable levels.

Therefore, from the perspective of recorders, protectors, and consumers (which is also part of inheritance), ethical practice must be regarded as a necessary part of the daily practice of being a person, being a scholar, being a cultural protector, and being a cultural consumer.

Nothing that violates ethical principles should be done in the name of "protection." For example, using "secretly filming" or "secretly recording"(or deception that does not explain the true purpose) to record a certain tradition in film and television, and then commercialize the obtained information (such as "exposure" or "live broadcast" in public media, etc.), or publishing it in academic names and gaining reputation and interests as a result, these have occurred from time to time in recent years and deserve the attention and reflection of scholars and relevant institutions (such as media platforms).

Here, we must reflect on these questions: If we don't record those lost traditions, what have we lost? If lost traditions are recorded in words and images, what does this mean (for practitioners and their communities or for other societies and communities)? What are the gains and losses that are not recorded because of following ethics and recorded because of violating ethics? How to record a disappearing tradition without violating ethics?

From the perspective of film and television recording of "intangible cultural heritage"

As mentioned above, the protection of "intangible cultural heritage" involves people at all levels of society: recorders, researchers, inheritors, communicators, and various consumers.

However, in terms of "intangible cultural heritage" protection, recording is the first step and therefore the most important step in ethical practice.

Here, we will focus on the recording of types of matters such as "intangible cultural heritage", especially the ethical issues of "recorders" in field investigations in film and television records.

(1) Part of the current situation

The most commonly used "field" methods of recording were (and still today):(1) colonial, or imposed, thinking one's own is the best and the most correct;(2) imperial, or predatory, thinking one's own interpretation or interpretation is the only feasible.

Both impose what they want on others at the level of material resources and spiritual beliefs; and force what they want on others.

The "reflection" of anthropology that began in the 1980s is a criticism of the large amount of "ethnography" generated by this method.

Today, the "on-the-spot investigation" methods we need are: (1) When in Rome, do as the Romans do.

Seeking "harmony without difference" through experience and tolerance;(2) Concrete loyalty.

Use film and television equipment and other means to record what you see and hear (limited "one person, one thing, one moment, one place" in a specific time and space).

Both need to emphasize the principles of "don't do to others what you don't want you to do to yourself" and "respecting" each other's "rights" and "rights and interests".

At the same time, there is also a need to have appropriate expression methods, that is,"method" and "methodology", that are consistent with the outside.

For example, in the recording and shooting of "intangible cultural heritage" inheritors, there have been many inappropriate examples: "secretly filming","posing","taking out of context","editing commentary","free shooting", unauthorized shooting and distribution of image data, and phenomena such as "revealing privacy".

Regarding the education of ethical values in textbooks, there seem to be two prominent problems in the discussion of folk customs records, especially when it comes to the shooting and use of film and television documentaries: in general, there is a lack of coverage and discussion of ethical issues; in practice, ignoring the prerequisite understanding of the traditional values related to folk customs recorded, and instead focusing on foreign subject theories and methods.

For example,"Documentary: Image Meaning System", which is listed as "Teaching Materials for Colleges and Universities in the New Century" and "Key Teaching Materials for National Planning", has no discussion on ethics.

In addition, there are 37 "references" listed in the book, including 7 works in pure English, 14 works and anthologies translated into Chinese, and 16 works and anthologies in Chinese.

Only three of the Chinese works are research on film and television documentaries, and the others are research on language, culture, art and aesthetics.

Of course, what is gratifying is that the book discusses the issue of "cultural intrusion" in the last two sections, emphasizing the maintenance of traditional values in some excellent documentaries in China in recent years: the moral perfection of "loving others and cultivating oneself"; the tolerant character of "moderation and harmony." But why can't these fundamental issues be mentioned in more important teaching syllabus or specific processes such as scientific research establishment or approval?

With its unique perspective of attention and narrative methods, folk film and television shapes the richness and creativity of traditional life by respecting the endless cultural inheritance of mankind and nature, and based on the values of beauty and lofty.

This is its deep core.

Therefore, folk film and television records are not civilization's pursuit of ignorance, advanced's overlook of backwardness, nor backward's admiration of advanced, but a dialogue and exchange of equal human beings full of humanistic care, and a respect and tribute to folk life.

With the help of folk films and television, the purpose of communication and understanding can be achieved between nations and between people.

This is also the unparalleled charm of folk film and television.

To this end, folk film and television workers must first be able to enter life and go to the people, including psychological preparation and experience in both material life and emotional life.

Be prepared and able to endure hardship.

Once you have feelings for the subject, you will not take exotic pictures.

Even if you take a picture of a dilapidated thatched thatched hut or a laborer in tattered clothes, you will fill the picture with the flavor of life and human touch.

You will find out the differences and development between them and the past from the real poverty, and you will find emotions and trust that are already difficult to find in modern cities from their relative backwardness.

Only in this way can folk film and television records have real value.

Ethical issues are not just conceptual issues, nor are they just part of the methodology of the subject.

More importantly, they are manifestations of daily behavior.

At present, China's folklore circles have no recognized or enforceable disciplinary "ethical rules" in terms of folklore and law, folklore and ethics.

There are also no related disciplines such as anthropology, sociology, and psychology.

Not only that, research and attention to ethics are also limited.

When building similar "ethical rules" of disciplines, we can borrow "stones from other mountains", but different cultural and social backgrounds require corresponding different ethical rules and cannot be copied.

Practical ethical rules are ethical practices based on specific cultural values.

(2) Lessons from the past

An act of reflection on ethics is here to briefly summarize the story of Barre Toelken (1935-2018).

He began his research in folklore in the 1960s and was responsible for the Folklore Archives at the University of Oregon, the Folklore Project at Utah State University, the Folk Art Department of the National Endowment for the Humanities, and was president of the American Folklore Society from 1977 to 78.

His works such as "The Dynamics of Folklore" are basic textbooks for American folklore.

Tolken's path to folklore began when he was young with a member of the Navajo Indians called the Yellowman.

The yellow man saved him from the death of his disease.

From then on, Torken became the family of the Huang people.

No matter where others are, always keep in touch with the Yellow and Tribes.In the 1960s, he used recording equipment to record about 60 hours of stories told and songs sung by Huang people and his people.

In Tolken's own words, because of his special relationship with the Yellow people, he was able to publish some unique articles on the Yellow people and Navajo culture, which led to his promotion and fame and status.

However, more than thirty years later, Tolken made an unexpected decision: he returned all the tapes he only kept to the Huang people's family.

He published an article in the American Journal of Folklore in 1998 explaining why he did this, and also discussed it in a speech at the 2003 American Folklore Annual Conference.

As a result of his dissemination, some Navajo stories were told at the wrong time and place, and were understood one-sidedly.

These stories touch on some important Navajo beliefs.

Later, at the request of his sister, Huang Ren's wife (Huang Ren had passed away by then), Torken returned the tapes to her.

"After all, these stories are Navajo's, not mine." However, Torken later seemed to understand that he reflected on what he had done and, in order to remind future generations, concluded that in a matriarchal society, he did not pay attention to the stories told by women; he did not use the people who provided him with various help as collaborators in his publishing articles; he did not understand the multiple meanings in the story, but only showed off himself based on the one meaning he knew.

Tolken believes that a scholar can only do a good job under the guidance of the culture he studies, even if the path is interrupted by academic assumptions.

Tolken returned the tapes,"confessing" about his neglect of women when recording stories, and his one-sidedness in "using" stories, which also suggested that the stories were returned because they were considered harmful to the narrator, especially when told at inappropriate times.

He admitted that he finally began to understand some of these issues 50 years later.

However, his approach triggered a debate in folklore circles: one view is that respecting the wishes of the subjects is ethical; however, if this ethical code is violated and the recorded stories are well translated and preserved, this may be a valuable part of human culture that will never be available again; Another view is that although the stories involve the core of the narrator's beliefs and not told in the way they should, it will cause harm to the people.

However, if these stories are treated in accordance with the traditions of the people, is it not possible to play or tell them at a specific time and place? The ethical issues in these two aspects, as well as related issues, are also worthy of consideration by China colleagues.

The issue of values reflected by technical means should be mentioned here in particular: the famous anthropologist Levi Strauss C.Lévi-Strauss went to Brazil in the 1930s to make anthropological field records and took a large number of photos.

Nearly 60 years later, he published a video ethnographic album of that inspection,"Memories of Brazil"(1994).

Later, his Brazilian assistant at the time, Castro Ría, also published a collection of photos he had taken while traveling with him,"Additional Views"(2001).

The former wants to show the "field" in his imagination, the cut (or using different scenes and depth of field at that time) pictures, a kind of "primitive".

Therefore, the characters in the photos are all performing various movements in front of the "original" background.

However, the latter shows the current social development situation at that time: the same characters, at the same moment, are in the background showing signs of "modern" villages such as houses, fences, and telephone poles that the former does not have.

It can be seen that whether it is through scenery or post-tailoring, the "background" can be consciously or unconsciously reproduced or eliminated, thereby achieving the purpose of demonstrating personal theoretical views.

However, this is by no means a question that supports a certain theoretical point of view.

What is more important is respect for the current situation of a culture and the reality of the development process of human culture.

It is a manifestation of a person's beliefs and values.

This is not a question of the authenticity of close-ups, but a question of the purpose of taking such pictures.

This is exactly the "so what?" that we always ask problem.

Here, we must first thoroughly understand the core of ethical principles.

What exactly do they express and what issues are they raised? Is their purpose specific to certain cultures or specific phenomena, or should they be regarded as universal and have universal values? So, are there universal standards in ethical practice? Is the universality of ethics at the level of ideals (concepts) or at the level of practice? What does this have to do with the abstract nature of human beings?

(3) Film and television records of the "intangible cultural heritage" tradition

From the perspective of folk film and television workers, attention to and mastery of ethical common sense must be reflected in daily life and study, and then practiced in field investigations.

Whether you are preparing to enter the scene, are already on the scene, or editing or displaying the results in the later stage, you must not only have the "string" of ethics in your mind, but also always "tighten" this string.

It is necessary to strengthen our own cultivation and practice in traditional ethics, and we must think about some basic principles and common sense issues during the preparation stage.

The ethical issues involved in on-site recording through film and television are more complex than those involved in traditional field surveys based on paper and pen recording (or even recording), and they also require serious study, practice and reflection.

The ethical issues involved in folk film and television recording directly involve at least four aspects from the party level: the legal and regulatory issues involved in the shooting project; the self-rights and interests of the photographer (including reputation and conscience); the rights and interests of the person photographed; Choice of the content photographed.

In fact, the premise of these principles is whether the photographer is treating the subject equally.

This is also the most basic ethical principle for on-site investigations.

From the perspective of shooting projects, we must consider the impact of the works photographed on the inheritance and practice of folk traditions, as well as the possible academic, social, economic, political and legal impacts.

Of course, there are also relations with colleagues involved in the filming,"bystanders" at the scene, etc.

Fully respecting ethics and filming in accordance with ethical principles are principles that every folk film and television worker should adhere to.

In practice, on the one hand, we must follow the principles of the discipline; on the other hand, we must follow traditional values, especially the local ethical codes of conduct of the groups to be recorded.

Folk film and television records must not only follow specific ethical norms, but also contribute to safeguarding and inheriting these norms.

The most basic principle of folk film and television recording is to respect and protect the dignity and rights and interests of the photographed (recorded).

In this regard, the conscience of folk film and television recorders is sometimes more important than explicit rules.

How to specifically master the basic principles of ethics can be reflected in the following practical process.

The issue of basic preparation ethics is not only a matter of professional ethics, but also a matter of personal literacy; it is not only a matter of disciplines, but also a matter of different cultural value systems.

Therefore, when preparing the questions mentioned below, we must also consider some big questions: Is the film and television recording of folk customs just a subject matter? Is folk film and television recording the best way to respect traditions or inheritors? What is the value? What is the relationship between film and television records of folk customs and the values of this culture? Does folk film and television recording record "ourselves" or "others"? Who owns the recorded culture (folk customs)? Who is making film and television records in what way, for what, and for whom?

First, prepare for shooting (1) What benefits and harms will the project to be filmed have to the subject (reputation, property, community relations, etc.)?

(2) Does the project to be filmed conflict with current laws or rules or local customs or beliefs?

(3) Is the project to be filmed the best or only means of studying the group or individual and its traditions?

(4) What negative impact will it have on the tradition or group if this shooting project is not carried out?

(5) Does the project to be photographed require prior permission from the subject?

(6) To what extent does the shooting project you will undertake affect your personal name and profit?

(7) If the work brings fame and fortune to yourself, how to deal with the relationship between these fame and fortune and the person photographed and their group?

(8) How to compare the gains and losses of the individual and the subject?

In addition, it is necessary to clarify whether these preparations have been made: written (or recorded) permission statement documents; letters proving your identity; prior agreement with the interviewee; contact information of the interviewee or contact person; title of the interviewee or related person; Explain to the interviewee the purpose and purpose of the shooting; contact person for the shooting event and other information, etc.

Second, when preparing for on-site shooting, you must confirm whether you have understood or are familiar with these situations: special local festivals or days; local titles and taboos related to seniority, gender, and age; clothing that needs to be paid attention to (local taboos, habits); words and deeds that need to be paid attention to (local taboos, habits); diet that needs to be paid attention to (local taboos, habits); behaviors that need to be paid attention to (local beliefs), etc.

In addition, answer these questions yourself: (1) Do all scenes and shots taken require prior or subsequent permission from the subject?

(2) What explanations need to be given to the group of people photographed during and after the filming (or, what positive and negative effects are there, and how to avoid possible negative effects)?

(3) Are you prepared for possible situations (e.g., being refused filming or interviews?)

(4) Have you coordinated the cooperative relationship with colleagues?

(5) Has the relationship with relevant personnel on site been coordinated?

(6) Have the privacy issues of relevant personnel been properly handled?

(7) Has the consent of the person photographed been obtained orally (audio or video recording) or in writing?

During the third post-editing and achievement display stage, we should continue to ask ourselves: (1) Do the films photographed and edited need to be recognized by the subject again before dissemination or publication?

(2) If the work photographed and edited is criticized by society or disciplines (or even the person photographed), how to handle the relationship with the person photographed and his group?

(3) Can filming that is not currently licensed be used in the future (because the film will exist for a long time and will be distributed widely)?

(4) How to sign the film?

(5) How to deal with the signature or remuneration of colleagues and support personnel?

(6) How to deal with the signature or rights of the subject or relevant persons in his community?

(7) How to dispose or keep material pieces, different samples, and pieces?

(8) How to sign a publishing or commercial contract involving profits and interests?

Ethical reflection Although we can say that if we do not photograph and record a certain folk matter, it may be on the verge of disappearance, we must also reflect on whether we should insist on the filming if the filming behavior we want to do violates the wishes of the parties involved; Whether there are other methods of recording; whether not filming and recording will accelerate the disappearance of the folk tradition.

Of course, the most important one is how to coordinate relationships and achieve results that satisfy all parties.

We can imagine such scenarios that are particularly worthy of deep thinking and reflection (In fact, this has happened in the field of folklore): The folk recorder is recognized by the person being recorded or its group with his sincerity, and also obtained the permission of the person being recorded, and records the core part of the planned special project.

This part is the core of the belief of the group or culture, or even the sacred and secret part.

So, should the recorder display this part "completely" and "truly" to the public? If I save this part of the material? If the individual subject and his group disagree with each other, what should we do with the content photographed? If the recorder personally gained fame and fortune as a result, if the recorder did not realize at the time that what was recorded would be disclosed to some extent, if the recorder or his group did not want his "internal knowledge" to be disclosed afterwards, then what should the recorder do?

In short, when reflecting on the conflicts between ethics and law, ethics and reality, and ethics and personal interests encountered during the shooting and recording process, we should often revisit and reflect on the most basic ethical bottom line: we must not just because of our own shooting, and cause the various rights and interests of the person photographed to be infringed or lost, whether temporary or long-term.

In fact, if the meaning and purpose of a certain recording work are sincerely explained, so that the subject can realize his own value and long-term interests, there will be no irreconcilable contradiction.

Ethics maintenance The maintenance of ethics is reflected in every work stage, from design to filming, to post-editing, from film playback and dissemination to archive preservation, as well as copyright and benefit distribution issues during the period.

For example, when making a finished film, it should be noted that using any "special effects" or "adding" any pictures and sounds may be imposed on the producer's "intention" to "suppress" the subject's own "voice".

Isn't this eliminated "voice" the core that needs to be focused on most in folk film and television records? The beauty of "real" cannot be distorted for the "beauty" of the picture and the "beauty" of the sound.

(At this time, it is not only necessary if text is used properly to supplement it, but also necessary for a complete film and television recording.) This is not so much a matter of style and technology as a matter of ethical awareness-is it to truly and equally respect the person photographed and recorded, or is it to use the "other" to force the audience to accept the producer's values? In fact, ethical norms determine how filmmakers choose what they shoot and how they shoot, and are also influenced by the participants.

Who controls the production of a folk film? If the people being photographed are in control, can the producer adhere to his moral bottom line? Will the results be somewhat closer to the truth of life?

From the current practical perspective, the maintenance of ethics is reflected in these aspects: (1) legal issues such as intellectual property rights and ethical traditions;(2) the level of discipline development;(3) the perspective of personal development;(4) ethical maintenance in multicultural exchanges;(5) the impact on future discipline development;(6) the maintenance of traditional cultural values and belief systems in a society.

conclusion

Every field investigation, filming record or project execution is an ethical practice, but such professional ethical rules should be consistent with the ethical principles in people's daily life.

The recording or protection of each "intangible cultural heritage" project must also be a multi-faceted ethical practice.

Therefore, in the protection of "intangible cultural heritage", although recording is a work mainly for scholars, protection is often a work mainly for the government, inheritance is a work mainly for practitioners, and consumption is the need and responsibility of all people.

However, the ethical issues in the protection of "intangible cultural heritage" are issues of the whole society and the core issues of human beings.

Because folklore is on the front line of protecting traditions and has face-to-face contact with inheritors through on-site investigations, it will use more film and television equipment to record traditional activities such as "intangible cultural heritage" and the lives of inheritors.

Therefore, it is particularly necessary to think about the core issues of ethics, pay attention to how to maintain one's values and ethical norms in practical methods, learn from lessons learned from the past, and implement ethical maintenance into every step of protection work.

Through the discussion of the "Ethical Principles", it is believed that "ethical rules" that are consistent with China's culture and value system and traditional practices and are applicable to relevant disciplines will emerge in the near future, so as to help scholars play a more active role in cross-cultural, cross-regional and cross-disciplinary "intangible cultural heritage" protection.

(The original text is published in "Cultural Heritage", issue 1, 2020, the annotations are omitted, and refer to the original issue for details)