[Yue Yongyi] The transformation of authenticity, vitality and intangible cultural heritage
Abstract: In the past 20 years, as an important category of intangible cultural heritage, performing arts intangible cultural heritage has always had rich research patterns due to its diversity and interdisciplinary nature.
However, most of these studies are carried out under the paradigm of two rules: "original/authentic" and "living inheritance".
A large number of theoretical ideas for making suggestions are equally out of touch with the actual protection.
In essence, the holders of authenticity and original ecology, with moderate conservatism and frequently-looking revisionism as their hubs, regard intangible cultural heritage as eternal and static, and frame it as the great cause of governing the country.
Prime Prime Minister, turning it into a museum and standardization, and requires high-level security to end the industry that has become a niche dominated by museums, exhibition halls, and performing arts halls.
"Live theorists" pay attention to the dynamics and changes of intangible cultural heritage, but they can easily become prisoners of the illusion of development.
They regard intangible cultural heritage as natural cultural resources and help cultural industries, tourism economy and poverty alleviation.
Under the guidance of this configuration, with the slogan of serving people,(ancient) villages, and communities, the stage and performance intangible cultural heritage are further decorated, and ultimately contribute to the small number of "museum buildings" cause.
In this way,"whose center is the intangible cultural heritage stage" has become a question.
Keywords: intangible cultural heritage; performing arts; inheritance; stage; museum building author profile: Yue Yongyi, PhD, professor at the School of Society and Demography, Renmin University of China.
1."Warm" rural performing art
At the beginning of the 21st century, traditional "performing arts" such as drama, music, dance, and rap, which were originally more closely related to local areas, ethnic groups, and folk, and more directed towards emotional expression and consumption, were largely included in the list of excellent traditional cultures due to their local accent, local sentiment, and local charm.
This is not only related to the strategy of modern nation-states to effectively expropriate traditional culture, but also related to the impact of the concept and practice of human cultural heritage advocated by UNESCO.
Because of the game and entanglement involving confrontational or competitive cooperation such as the diversity of human culture (sharing, sharing, beauty, and sharing of beauty) and the cultural sovereignty of modern nation-states (exclusive, exclusive, each with its own beauty), in the context of the massive Intangible Cultural Heritage (Intangible Cultural Heritage) movement, Kunqu Opera, Guqin, Uyghur Muqam, Mongolian Changdian, etc.
have been included in the UNESCO Intangible Cultural Heritage List, which is reasonable.
Affected by this, folk literature, folk arts, etc.
that meet the standards are dubbed "intangible cultural heritage" and "intangible cultural heritage" to build a knowledge sociology that shoulders morality and positive energy-a continuous history, inheritance pedigree, exquisite skills, huge impact and benefits, unquestionable importance to the family, country and nation, but lack of successors, etc., and protection, inheritance and related research are in full swing in the land of China.
Over the past ten years, intangible cultural heritage protection has been carried out from top to bottom, fully mobilized, with almost everyone participating in it, and has achieved remarkable results and accumulated rich experiences and lessons.
Due to its complexity and diversity, the research and exploration of the protection and inheritance of intangible cultural heritage in performing arts has led to the simultaneous development of multiple disciplines such as folklore, literature, drama, musicology, dance, anthropology, and ethnology.
The momentum of joint management has emerged.
For a long time and space, in-depth observation of a certain performing art that has an intangible cultural heritage name or is trying to declare intangible cultural heritage poses a serious challenge to performing art intangible cultural heritage that is "delisted" based on taxonomy and administrative governance logic.
For example, the Yao people's "Zuogetang"(Gangsuke) in southern Hunan is actually an artistic presentation and mirror image of the "lack" of the living conditions of the local Yao people.
That is to say, the invention and inheritance of Okasuke, which is currently regarded as an "intangible cultural heritage", is actually an emotional creative and aesthetic response to the many "deficiencies" of the local Yao people in their living world.
This kind of romantic "art" in the eyes and works of researchers and others, who are born in part due to scarcity, not only solves the material dilemma of insufficient beds at home when guests visit, but also creates a cultural model and attitude towards artistic communication among relatives, neighbors, villages, men and women, young and old, cultivates individual optimism to relieve sorrow and a lively atmosphere in the village, and gives "warmth" to the life and life of mobile migration.
Similarly, the "poetry reciting" of the Zhuang people in Dejing area of Guangxi, a "song fair" and "intangible cultural heritage" named by others, was originally used by the Zhuang people to "warm houses","warm the land" and "warm the village".
It is to warm the heart and enrich life and life.
It is not the "love of men and women" that others imagine and label.
Unlike the originally "elegant" Kunqu Opera, Guqin and other intangible cultural heritage projects that have irreplaceable status in elite culture, such as Gangsuke and Yin Shi, most rural performing art intangible cultural heritage are pre-industrial A product of civilization.
As a link in the ecological chain of production, life and social culture, these performing art intangible cultural heritage are closely related to the natural ecology, climate, products and the historical evolution of specific groups of people in specific regions, production methods, daily life, internal and external communication, life rituals, and year-old festivals, religious practice, outlook on life, cosmology, etc., and are closely related to the real "scarcity" of specific social forms, thus pointing to the creativity of intelligence and the aesthetics of emotions.
It is religious (at least sacred) and recreational and playfulness that points to leisure.
With the impact of industrial civilization and information civilization, and the strong influence of urban lifestyles, when this scarcity is reduced or even eliminated, the soil for the survival of intangible cultural heritage such as performing arts is absent, especially when it is not closely related to people's sense of life, survival awareness, and daily production, life, communication, and value recognition, even if it is refined into "stage art", tourism projects, museum exhibits that satisfy the imagination of others and enjoy it, or it is promoted into a "drama", Protection and inheritance after intangible cultural heritage will inevitably face insurmountable difficulties.
2.
De-domain: the disadvantages of "intangible cultural heritage"
Performing art relies on performers, viewers, performance venues (cultural spaces), and many technical equipment and communication media.
Obviously, the performer and the viewer are the core of the performing arts, and the inheritors and inheritance mechanisms are particularly important in the protection of intangible cultural heritage.
In a considerable sense, the existence of inheritors effectively ensures the life of performing art intangible cultural heritage as a performing art.
For drama, intangible cultural heritage practice has brought development opportunities to some troubled artists, but it has also "transformed" the performance of traditional artists and forced the performing art to become "performance of performance" to a certain extent.
In this way, dramas that are constantly withdrawn from life and transformed into symbols of cultural traditions show local traditional culture that people have constructed or even imagined.
For the protection and inheritance of flowers prevalent in many places in the northwest, deciphering the internal mechanism of flower inheritance and understanding the individual values of flowers in various places are prerequisites for academic circles to assume their "academic responsibilities." Ke Yang particularly emphasized that in addition to paying attention to the singing and performances of Hua 'er inheritors, it is also necessary to use microphones and cameras to record their lives, artistic creation and the process of teaching skills.
In this way, it shows its life history, growth history and inheritance history, narrates the context of tradition, and continues the inheritance of spirit.
In other words, the inheritors of flowers who have been separated from the domain must be returned to the scene of life.
Shandong Huji Book Fair is as famous as Henan Majie Book Fair.
Regarding the dilemma of the storytellers at the Huji Book Fair, intangible cultural heritage practice may only allow the Huji Book Fair to "come back to life" for a moment, because the inheritance of skills and spiritual continuity cannot be completed solely with policy support.
However, after the Tujia funeral dance "Sa Ye 'er Ho" was included in the intangible cultural heritage and performed commercially, the simple and simple folk customs that emphasized emotion and righteousness in the funeral dance were seriously damaged.
With the changes in the content and form of the "Sa Ye 'er" performance, the sense of solemn ceremony formed in past performances and the social relationship between the villagers built have gradually disappeared.
Because of the basic fact that rural China is derived from the coexistence of farming civilization, nomadic civilization, and fishing and hunting civilization, in addition to artistic nature, most performing art intangible cultural heritage usually has a clear spiritual orientation, especially ceremonial and sacred nature, and plays a key role in people's daily life of birth, aging, illness and death, in community identity and the integration and orderly operation of local society.
In addition to the already mentioned Gangjie from Panyao in southern Hunan and the reciting poems by the Zhuang people in Dejing in Guangxi, there are all the flower drum dances of the Yi people in Eshan in Yunnan, the "Dage" of the Yi people in Weishan in Dali, the drum ci in Wenzhou, Zhejiang, the "Gao Huangge" by the She people in southern Zhejiang, the grass dragon dance in Yexie in Songjiang in Shanghai, and the Nuo opera in Chizhou, Anhui.
However, after being included in the intangible cultural heritage name-being intangible cultural heritage, and receiving dual favor from the government and business, the shocking religious ritual connotation of these performing arts has been continuously stripped away and become more secular and entertaining., especially empty pan-sensory.
In a considerable sense, lively, good-looking, nondescript "carnival", going to CCTV, going abroad, winning awards and leaders 'likes have become synonymous with intangible cultural heritage in the performing arts category.
Whether wide or narrow, or gorgeous or simple stages, flash lights, large and small microphones, slightly, colorful lens pictures, and the praise of the elite of the official media have become the baton that the intangible cultural heritage of performing arts has to pay attention to at all times, and further urbanization, art, refinement, and of course, standardization, shell and alienation to varying degrees.
The intangible cultural heritage of performing arts that is separated from domain and converted into belief or secularization is influenced to a considerable extent by the inheritance field, heterogeneous time and space, and the tastes and expectations of the viewers.
Either migrating or shrinking, the constantly evolving cultural space and ecology have profoundly affected the development of performing arts intangible cultural heritage.
It is obvious that today's emerging new theaters, especially the stages that are rendered, controlled and controlled by technologies such as sound, light, electricity, and the new and rapidly spreading and permeating popular art, inherit people's understanding, compromise and even cater to the external world and the viewer., the desire for inner improvement, etc., all affect and regulate the appearance and nature of the intangible cultural heritage of performing arts, ultimately forming a gap between the needs of the people and the aesthetics of the stage.
As a ritual song and dance performed by the Tujia people in western Hunan during the traditional New Year Festival, Maogus's ancient performance style and content have long attracted repeated research by scholars in folklore, cultural anthropology, dance, drama and other disciplines.
As an authoritarian discourse, these academic achievements have in turn become boosters for local intangible cultural heritage declarations, ecological and cultural protection, and tourism folk development.
Wang Jiewen pointedly pointed out that the process of cognition and understanding of "Mogus" being objectified by others and clinging to a corner like a blind person touching an elephant is also a process in which local people are alienated from their own traditions.
In this way, the cultural tradition that is performed and viewed becomes an alienated revival and invented "traditional culture", and causes the economic model, social relations, and psychological world of local communities to undergo a series of reconstructions.
In short, the intangible cultural heritage of Maogus is the result of the abandonment and "euphemism" of Maogus, a Tujia people.
It is related to but has nothing to do with it.
Similar to Maogus, the "moedlaenz" performance of the Zhuang people in Guangxi, which is listed in the intangible cultural heritage catalog, experienced a triple jump from home to community and then to stage.
The intervention of intangible cultural heritage has gradually stripped away the religious and ceremonial traditions in the singing of the "Mupo/Mugong" ritual and replaced them with the popular "festival" and "cultural" labels.
This change also shows a process of "de-context" and "re-context" as a whole.
In the process of intangible cultural heritage, while strengthening the artistic, cultural and commercial attributes of Chizhou Nuo Opera, the taboos and sacred meaning of the original connotation of "respecting Bodhisattva" have been continuously eliminated and marginalized.
Just as the cruel fact shown in the 2016 film "Hundreds of Birds Frying to the Phoenix" directed by Wu Tianming, artists in southwest Shandong have to face wave after wave of shocks and challenges from the popular music series that young people like, and they are unable to save the world.
The same dilemma is what Hebei Changli Shadow Play has to face: a lack of young audiences, a shrinking performance market, and a lack of successors.
In a considerable sense, the Intangible Cultural Heritage Movement has created an obvious gap between the cultural propaganda of performing arts intangible cultural heritage-verbal construction-and the cognition and life of local people.
In the practice of local protection, the original public foundation of performing art intangible cultural heritage, its intimacy and organic nature with the daily life of specific groups of people have been weakened to varying degrees.
Ye Xie's performance of the grass dragon dance shows that the loss of belief content and the enhancement of entertainment are making it deviate from the meaning of the past.
Therefore, Zhao Lina believes that it is necessary to restore the cultural ecological field where the grass dragon dance ceremony exists, and implement productive and living protection for its grass dragon production, sacrificial ceremonies, etc.
In other words, the promotion of intangible cultural heritage work needs to be local-centered and carry out specific observation, practice and reflection.
In the second half of the 20th century, Wenzhou Guci encountered a development and inheritance crisis.
Under the policy, the establishment of "Community Ci Field" and the operation of "Wenzhou Quyi Field" have brought traditional drum ci performances back into contemporary social life.
This "implantation" of folk customs has contributed to people's awareness of the inheritance of Wenzhou Guci to a considerable extent.
When alienation, excessive stage and niche are regarded as problems, and it is emphasized that the protection of intangible cultural heritage of performing arts should return to people's lives, researchers clearly realize the integration between people's lives, local environment and intangible cultural heritage of performing arts.
sex.
However, in today's era of ubiquitous urban civilization and rapid lifestyles, how to bring the intangible cultural heritage of performing arts originating from pre-industrial civilization back to life? Among the many strategies, the call and practice of "embedding" intangible cultural heritage on campus are particularly eye-catching.
3.
Embedding: The pros and cons of campus inheritance
The intangible cultural heritage on campus "starting from childhood" was once widely recognized and continues to be vigorously promoted.
However, most of these practices only formally get close to the public and transplant the intangible cultural heritage of performing arts to the campus.
They are often the sacredness of the intangible cultural heritage of performing arts formed over the long history and integrated with artistic beauty.
Stripped.
The intangible cultural heritage of performing arts, which is often integrated with life rituals, not only directly affects people's body and mind, but also breeds and shapes individuals 'understanding of life.
On the contrary, the intangible cultural heritage of performing arts entering campus often only has external forms, and more attention is paid to the skills and techniques that can be decomposed, and the moves and postures that the body practices.
What's more, these performing arts intangible cultural heritage are originally external to the children who grow up with electronic products, and have basically nothing to do with the new life rituals they must pass-further education, especially the high school entrance examination and college entrance examination.
In the process of continuous improvement of the modern nation-state, campus inheritance intended to shape new citizens and citizens is a very complex topic.
In Eshan, Yunnan, not only was the Huagu Dance quickly blooming everywhere on primary and secondary schools after the Intangible Cultural Heritage Movement was fully launched.
As early as the 1950s, Huagu Dance entered the Yunnan University for Nationalities.
In the early days of reform and opening up, Eshan County Ethnic Middle School encouraged students to wear ethnic minority costumes and learn to dance folk dances such as big entertainment.
In 1989, ethnic middle schools in Yuxi area introduced the Yi people's Dati dance reform inter-class gymnastics, dancing Dati dance on Monday, Wednesday and Friday every week, and doing radio gymnastics on Tuesday and Thursday.
There is no doubt that in different eras, excellent, useful and useful traditional culture, national and folk culture all have campus-based experiences.
There are no exceptions to the establishment of majors such as arts and crafts, national music, national dance, and opera in colleges and universities, as well as the establishment of drama schools and quyi schools.
Moreover, even without top-down institutional construction and requirements, the closeness and recognition between a place's folk culture and people's lives will directly affect whether people actively introduce it to campus.
It is precisely because it has long existed in funeral rituals and festivals such as Kaixin Street, and is a basic element of funeral and Kaixin Street that Huagu Dance is highly recognized among the Yi people in Eshan.
This cultural ecology makes it logical for the Huagu Dance to be passed down on campus in an orderly manner in the context of intangible cultural heritage, and it has sound and color, and the effect is obvious.
Similar to this is the national intangible cultural heritage project in Tianjin Binhai New District-Hangu Flying Cymbal.
In 2008, in compliance with the operating strategies of local administrative technology and riding on the free ride of the "Tianjin Imperial Conference", Hangu Flying Hat was successfully listed on the national-level intangible cultural heritage list.
In fact, Hangu flying cymbals were originally the "iconic culture" of the old production and living customs of fishermen in fishing villages along the coast of Tianjin, and had little connection with the Tianjin Imperial Conference.
Historically, while flying cymbals were used in fishery production, they also carried the spiritual life and demands of fishermen and saltworks.
Since then, they have gradually evolved into a performing art integrating music, dance, and martial arts.
In 1988, after the Dingxian Yangko Troupe was completely disbanded, private Yangko clubs emerged again.
Different from the past, the revival of private classes during this period was dominated by economic interests.
Driven by economic interests, the temple fair performances commonly known as "Taikou" cannot meet demand.
In order to open up the performance market,"small things"-performances of weddings and weddings-are booming, and white performances have increasingly become an important source of income for Dingzhou Yangko performers.
This transformation that keeps pace with the times laid a solid mass foundation, including performers and viewers, for Dingzhou Yangko to later become a national-level intangible cultural heritage.
Similarly, after the reform and opening up, under the influence of the market economy, Hangu flying hat was quickly integrated into local funeral ceremonies due to its view of face, filial piety and respect for life.
Due to its fundamental connection with the vast majority of family life, especially the completion of individual lives, white hat flying has gradually evolved into a "sideline" for local hat flying people that can compete with their main business.
Not only that, but further than the inheritance status of Dingzhou Yangko during the same period, in the early 1990s, Hangu Flying Hi-hat had the practice of being passed on campus.
It is the regular drills of white things and the inheritance on campus that in a considerable sense have enabled the Hangu Flying Cymbal to be passed down to this day in the Hangu area dominated by urban civilization and its lifestyle, and laid a solid cultural ecology for later becoming an intangible cultural heritage, especially a large number of inheritors have been cultivated.
On the contrary, in the context of intangible cultural heritage, Hangu Flying Hi-hat embedded in campus inheritance from top to bottom has common problems in intangible cultural heritage declaration and protection, that is, standardization and formalization of de-domain.
This has led to the fact that today's primary and secondary school students 'enthusiasm for learning to fly hi-hat has not increased significantly, but has actually shrunk compared with 30 years ago.
Because the unique local cultural meaning of intangible cultural heritage has been stripped away to a considerable extent, especially its connection with individual life and spiritual life, the inheritance of intangible cultural heritage into campus is more of a formal aspect of coping with assessments and inspections.
Beijing's national-level intangible cultural heritage project, the campus inheritance of Xiaohongmendi Yangko, has always faced such an embarrassing dilemma.
In schools, children in the third and fourth grades of primary school where Yangko is practiced are usually children of migrant workers.
Moreover, after just getting familiar with it, either because of the pressure of further studies or because of moving back, the inheritors had to retrain new children.
In this cycle, the crisis of the inheritors becomes an "institutional" crisis.
Even though the campus has a prosperous and orderly heritage in Eshan, Yunnan, many parents are worried about their children practicing flower drum dances in school due to the pressure of further studies.
In southern Jiangxi, when tea-picking opera was listed in the first batch of national intangible cultural heritage lists in 2006, its inheritance quickly attracted the attention of local governments.
Through the country's "empowerment", the "intangible cultural heritage" tea-picking opera has not only become a local iconic culture, but also become a local "national" tea-picking opera.
In 2007, faced with the reality of a shortage of inheritors, Ganzhou City began to implement the policy of training targeted students in Gannan tea-picking opera.
Every year, funded by the government, a group of students are selected and sent to Gannan Art School to study tea-picking opera performance, and after graduation, they are enriched to various city and county troupes.
At the same time, not only did tea-picking dance classes be offered in the dance major of Gannan Normal University, but tea-picking opera was also effectively implemented on primary and secondary schools.
Although the results have been remarkable, there are still many chaos in which targeted students are not attentive in their studies, feel that tea-picking opera is "local" and resist it internally, and go through the back door to solve their work and have nothing to do with the inheritance of tea-picking opera.
Different from the inspired enthusiasm of the elderly group for tea-picking opera, the young generation who professionally teaches tea-picking opera has not formed an overall "cultural consciousness".
Regardless of experience or lessons, these cases strongly warn others who have decision-making power, discourse power and control power: intangible cultural heritage protection and inheritance must be based on an in-depth understanding of daily production and life in large and small regions; We must fully respect and treat the self-adjustment and choices of intangible cultural heritage cultural heritage owners; We must put ourselves in the shoes of others and regard the people as emotional objects rather than work objects, so that we can be the subject of each other with the people and have an empathic understanding and resonance; Respect the natural laws of the rise and fall of things, and avoid mechanization and formalization of school inheritance.
IV.
Fusion Domain: Intangible Cultural Heritage in the Vision of Cultural Field
Today, in addition to facing the impact of multiculturalism and entertainment methods, the performing arts such as folk art, drama, music, and dance in rural China have also been transformed and reconstructed by "intangible cultural heritage".
Looking at it over a long period of time, Lanzhou Guzi has evolved from elegance to vulgarity.
Using the "Cultural Diamond" as a model, Chen Xianghua inspected the contemporary production and acceptance of Lanzhou Guzi, pointing out the loose connection between the life of drum artists and their performances, as well as the audience's strangeness and alienation from this art.
The intangible cultural heritage of Kunqu Opera provides us with a reverse example.
Due to the continuous emphasis on the "elegant art" attributes of its "heritage" and "national treasure", Kunqu Opera, which has its own secular spirit, has gradually become limited to the narrow circle of intellectual groups.
In view of this, Wang Tingxin believes that performing art should not be limited by "intangible cultural heritage" and become a solidified and unchanging thing, but should be continuously developed, updated, and kept pace with the times.
In protecting the northwest "Hua 'er", Ke Yang, while opposing one-sided authenticity, hopes to bring comprehensiveness, locality, and identity into the scope of thinking and interpretation of authenticity.
In other words, the institutionalized "nurturing" and "feeding" of intangible cultural heritage is inconsistent with the inherent laws of the evolution of things and is often counterproductive.
The strengthening of the "intangible cultural heritage" symbol may bring some vitality to some endangered traditional performing arts, but at the same time, it will also enable more intangible cultural heritage of performing arts to develop for development and have to work hard to industrialize, market and commercial evolution.
Taking Foshan's "Dragon Boat Rap" as an example, Xie Zhongyuan pointed out that behind the seemingly lively phenomenon of inheritance and communication, it is even more necessary to make more practical attempts to protect it and not fall into the trap of intangible cultural heritage development and "cultural performance".
Yunnan Midu lanterns also face "passive" intangible cultural heritage practice.
The new Lantern Culture Festival, built with people and equipment, has replaced the folk folk activities that have been passed down for hundreds of years and has become a display tool for local culture.
On the contrary, artists, audiences, and these core inheritors become foil.
Based on the evolution of the edition of "The Peony Pavilion", Song Junhua discussed the persistence, inheritance and innovation of the builders and reconstructors in the classics.
Obviously, this literati reconstruction and interpretation is of reference significance to the current "classic craze" and "intangible cultural heritage craze".
However, the performing art that conforms to the original meaning should also evolve from the present to be related to the daily life of all living beings in its natural state.
Advocating that on the premise of fully exploiting the original value of intangible cultural heritage, treating it as a "cultural resource" to serve the present, and then activating it has become a path for intangible cultural heritage protection that scholars care about.
Not only that, it is believed that as long as the essence and spirit of intangible cultural heritage are conveyed in the process of constructing the "authenticity of performance" of the stage, it is an effective protection and inheritance of intangible cultural heritage, and it has also become a voice.
How to deal with the relationship between the intangible cultural heritage of performing arts originating in rural areas and daily life, aesthetic tastes, and life visions where the differences between urban and rural areas are still obvious is a long-term problem that has to be faced.
What exactly is intangible cultural heritage and why it is naturally a question that researchers have to ask themselves often.
Whether we naturally regard intangible cultural heritage as a pre-concept, or directly face the facts themselves and redefine or clarify the pre-established concept of intangible cultural heritage, has become two different research orientations and attitudes.
From the perspective of cultural ecology from the American anthropologist Franz Boas, Yang Minkang clearly pointed out that the so-called traditional music performance art in intangible cultural heritage is not only its sound form itself, but also should include "performance behaviors and rituals" Behavior is equivalent to behavioral patterns related to sound form ", because the survival and development of traditional music performance art are originally integrated with social customs, etiquette, and festivals.
Furthermore, he emphasized that the existence and inheritance of a traditional music performance art is most inseparable from "the maintenance role played by ritual or 'ritualized' environmental conditions." Not only that, ritual or ritualization, social groups, individuals and cultural views, performance venues, natural and geographical environment and other factors together constitute the internal environmental conditions in the context.
These internal factors, together with the conditional factors from outside the society of the group, play a restrictive role in the existence and development of traditional performing arts, making traditional music present a harmonious and beautiful situation in which original ecology, sub-ecology and regenerative states coexist without being inconsistent in the contemporary era.
From this perspective, the evolution and inheritance relationship between the intangible cultural heritage movement and traditional music has become complicated, which is far from what the intangible cultural heritage movement and top-down (in a considerable sense, wishful thinking) intangible cultural heritage protection itself can do.
Obviously, all intangible cultural heritage after being transformed have this dilemma that they have to face.
Taking the Shibao Mountain Song Festival of the Bai people in Jianchuan, Yunnan as a case study, Zhu Gang tried to reverse understand intangible cultural heritage from the dual dimensions of time and space that constitute the "cultural space" of the Shibao Mountain Song Festival.
In comparison, although he also focuses on the cultural space, Meng Lingfa's observation of the performance of the She ethnic group's "Gao Huang Song" is more microscopic.
Just as the flower drum dance of the Yi people in Eshan coexists in contemporary times: funeral, open new street and art festival, the She people in southern Zhejiang perform "Gaohuang Song" in two types: entertainment song venues and ritual venues, and both are centered on the She people's families.
Meng Lingfa pointed out that under the inevitable trend of stage and secularization, the spatio-temporal boundary of intangible cultural heritage cultural space depends more on the spatio-temporal construction of traditional cultural activities or expressions in specific ethnic groups by intangible cultural heritage protection subjects.
That is to say, whether intangible cultural heritage or the cultural space that carries intangible cultural heritage, all have inheritance of the past, understanding of the present, and expectations for the future.
It is a "present state" in the process and a "thick moment of consciousness" in the sense of the psychologist N.Humphery.
Wang Jingbo, who has studied tea-picking opera for many years, gave Wu Yancheng a meaningful interview.
She wants to use the artistic life history of an artist, an intangible cultural heritage inheritor, to depict the ups and downs of tea-picking opera in northern Guangdong.
At this time, the relationship between person and drama is not the relationship between acting and being acted.
The person is the drama, and the drama is the person.
In the steady evolution of tea-picking opera in northern Guangdong and Wu Yancheng's stormy life, the intangible cultural heritage movement is a huge turning point full of tension.
As a social fact, the intangible cultural heritage movement not only affects relevant personnel, but also greatly affects or even promotes academic research.
Regarding Quyi, which has been known as the "literary light cavalry" for many years, people not only emphasize the comprehensiveness and complexity of Quyi as a performing art, but also note that performance-viewing is not the whole of Quyi.
They call on paying attention to performances on stage, pay attention to the writing forms behind and off the stage and the connection between Quyi and the daily life of different groups.
It is precisely because of the comprehensive development of the Intangible Cultural Heritage Movement that dance research has undergone the following transformation as a whole: research positioning has shifted from the edge to the center; research horizons have shifted from single to comprehensive; research ideas have shifted from collection and recognition to field demonstration; research paradigms have shifted from national discourse to local context.
In fact, as shown at the beginning of this article, these transformations in dance research are also the overall trend of intangible cultural heritage research, and push the intangible cultural heritage movement into an increasingly rational and benign track.
5.
Institutionalization: The Trap of Authenticity and Viability
Overall, today's performing arts (not just the many performing arts on the intangible cultural heritage list) are facing strong impact from the capital market and diverse literature and art.
Its own artistic and professional nature makes it more difficult to protect and conduct in-depth research.
The excessive emphasis on "intangible cultural heritage" has to a certain extent affected the unbalanced development of China's traditional art and culture and the original accumulated ecological chain, breaking its natural laws of endogenous development, changes, rise and fall in response to the situation, and then forming a plateau state and suspended literary and artistic prosperity.
There is no doubt that the intangible cultural heritage movement has achieved fruitful results.
This is partly due to the continuous observation, participation and reflection of the academic community.
However,"original/authenticity" and "living inheritance" also seem to have become the two ropes used by academic circles to discuss intangible cultural heritage, so that they inevitably become empty and vague, self-explanatory but irrelevant patterns.
Although these regular patterns and ideal paradigms have visual differences that appear in the inspiration of the Qiang sheepskin performed in the panoramic open-view structure, they also lead to the disconnect between a large number of theoretical concepts that make suggestions out of kindness and the actual protection.
In essence, the holders of authenticity and original ecology, based on moderate conservatism and revisionism that frequently looks back on the "Three Emperors and Five Emperors", will transform intangible cultural heritage, not only performance art intangible cultural heritage, stripping people, events and times, viewing it as eternal and static, and framing it as a "great cause of governing the country and an immortal event", and turning it into a museum, petrified and standardized.
-an alternative sanctification.
Following this logic, the intangible cultural heritage that is crowned layer by layer and requires the highest level of "security" will naturally ultimately serve the "museum buildings" industry, such as museums, exhibition halls, performing arts halls, etc., which are dominated by small groups.
Large cities and towns with relatively clear boundaries are all stages for them to try their skills and show their skills.
Although "living theories" pay attention to the dynamic and changing side of intangible cultural heritage and the blending and interaction of factors such as people, events, and time, they are easily caught by the mantra that "development is good" and consciously or unconsciously become a prisoner of the illusion of development and fall into the trap of tool rationality for the honest cultural industry, tourism economy and poverty alleviation.
The open countryside is also the countryside that the city condescends and imagines to be a mirror image, becoming a natural experimental ground and practice room.
Not surprisingly, under the leadership of this configuration, the slogan of serving people,(ancient) villages, and communities is used to stage and perform intangible cultural heritage, and is further decorated with frames and lenses, and finally from another path.
Add bricks and tiles to the cause of small groups of "museum buildings", merge with authenticity theorists, and achieve the same goal.
In other words, in a considerable sense, it is the intangible cultural heritage movement that promotes the prosperity of the current "museum" culture spread throughout urban and rural areas.
Whether it is the practice led by administrative functional departments or the theoretical exploration and construction of academic circles, there is still a long way to go for China's intangible cultural heritage movement to realize its original intention of protection.
The great intangible cultural heritage that has used a lot of manpower, material resources, financial resources and intelligence must always face these basic questions: What is the intangible cultural heritage? Why protect? How to protect it? Should we swear cultural sovereignty in the name of a modern nation-state, or should we recognize the diversity and universality of human culture? Is it truly serving the daily life of cultural holders and intangible cultural heritage practitioners, or is it necessary to separate culture from life and then empower and crown it with a context? How to balance the dual directions of the intangible intangible cultural heritage and the invisible material?
The core of the intangible cultural heritage of performing arts must be "performances" on different stages and forms, and it is viewing and being viewed.
However, when all categories of intangible cultural heritage have a performance and display nature and become "museum buildings" that can be viewed, in order to make intangible cultural heritage sustainable and benign inheritance and development, in addition to asking "Whose intangible cultural heritage" and "Who is at the center of the stage", we must always be vigilant and further ask: "Who should be at the center of the stage?" "Who is really center stage?" "Whose center is the stage?"
Of course, China is not the only one who needs to be vigilant.
These are actually inevitable and inevitable dilemmas for the heritage protection movement led by UNESCO.As Meskel pointed out: Heritage protection, which was originally intended to protect human heritage and was full of ideals, not only quickly created a complex technocratic system, but also triggered more disputes, estrangements, and even conflicts.
Ordinary reality replaced grand ideals.
(This article was published in "National Art", No.
6, 2020.
The annotations are omitted.
See the original issue for details)