Concept Of Intangible Cultural Heritage Research Articles

Unveiling the Veil: Intangible Cultural Heritage and the Filipino College Students

This study examined the current knowledge of Filipino college students on the Intangible Cultural Heritage (ICH) of the Philippines. The study included 75 college students during the academic year 2022-2023. Through a qualitative approach, the students submitted written essays anchored to the research questions. Thematic analysis was employed to analyze the qualitative data, adhering to the stages of open coding, axial coding, and selective coding. The analysis resulted in the surfacing of various themes which are the result of this study: (1) Exposure to art forms, (2) association with indigenous people, (3) essence of values and practices, (4) misunderstandings about ICH, and (5) safeguarding of ICH. Students who came from the provinces experienced ICH through their festivities and local cultures, which are annual celebrations of various communities. There were also students who observed their locality’s people, handicrafts, and even familial behaviors. The presence of various art forms, performances, and experiences with indigenous peoples, and local traditions, regardless of whether it is within their families or communities, and their own knowledge of recent social issues unveiled the opportunities for the students to be exposed to the concept of Intangible Cultural Heritage and safeguard it. The author proposed a recommendation to further study and formulate a probable teaching and learning approach for college students to be more exposed to the Intangible Cultural Heritage of the Philippines.

Looking at the cultural heritage proclamations of Ethiopia: conceptualisation and management of cultural heritage

The main purpose of this paper is to explore how the conceptualisation and management of cultural heritage have been treated in the cultural heritage proclamations of Ethiopia. The analysis of the four cultural heritage proclamations reveals that the notion of cultural heritage improves from the first to the fourth proclamation. In the first two proclamations, the term antiquity was employed, and the latter two employed the term of cultural heritage. The 1966 proclamation included antiquities that were dated prior to 1850 EC, while the 1989 proclamation removed this cutoff date and expounded upon the definition of antiquities. The 2000 proclamation replaced the term antiquity with cultural heritage and introduced the concept of intangible cultural heritage. In terms of the management of cultural heritage, the differences between the 1989 and 2000 proclamations are quite minimal. The 2014 proclamation attempted to classify cultural heritage into national and regional cultural heritage. It also defined important components of intangible cultural heritage. The management of cultural heritage exhibits some evolution from the first to the last proclamation. However, due to the diversified nature of cultural heritage conceptualisation and management, it will be important for additional legislation to be issued separately for movable, immovable and intangible cultural heritage, for example. This study argues that strong legal and institutional frameworks should be established to properly protect, conserve and study cultural heritage.

Application interface design of Chongqing intangible cultural heritage based on deep learning

In order to integrate the concept of intangible cultural heritage (ICH) protection into the construction of smart cities, realize the organic integration of smart cities and cultural heritage, and improve the cultural experience of urban residents and tourists, this study explores an interactive design scheme of smart cities application interface applied to ICH protection to meet the needs of protection and inheritance. Firstly, the ICH of Chongqing is sorted out and classified. The ICH-related APP interfaces in the market are analyzed through investigation. Secondly, an image recognition algorithm of ICH based on deep learning (DL) technology is proposed and applied in APP to realize automatic recognition and introduction of ICH. Finally, a set of APP interface interaction design schemes is designed based on user habits and visual feelings to enhance user experience. The experimental results reveal: (1) The model for recognizing ICH images using the convolutional neural network (CNN) has higher recognition accuracy, recall, and F1 value than the model without CNNs; (2) After incorporating transfer learning (TL) into the model, the recognition accuracy, recall, and F1 value of the model have further improved; (3) The survey results show that the Chongqing ICH APP interface system based on DL technology, user habits, and visual perception performs better in terms of user experience, usability, and other aspects. This study aims to design an APP interface system for the Chongqing ICH based on DL technology, user habits, and visual perception, to improve user experience and usability. Future research directions can further optimize image recognition algorithms to improve ICH's recognition accuracy and efficiency. Meanwhile, new technologies, such as virtual reality, are combined to enhance users' interactive experience and immersion.

Indigenous rights and underwater cultural heritage: (de)constructing international conventions

People, ideas and products of all civilisations have been moved by ships, making oceans one of the major drivers for the divergence and convergence of human societies. Furthermore, human beings have interacted and lived on and around oceans, so their heritage provides testimony to many periods and aspects of our shared history. The marine policies to protect underwater and coastal heritage are complex, since this heritage has an intricate two-way relationship with anthropology and law. The legal instruments to specifically protect underwater cultural heritage do not include the consideration of Indigenous communities, although there are nearly 2000 coastal Indigenous communities in 87 countries with coastal heritage and maritime-based traditions. Since it is the law of Coastal States (emphasis on States) that directs how submerged lands and waters that belonged to Indigenous communities are used, the international legal instruments offer little actual leverage to these communities over the management of their cultural resources. This article studies Indigenous rights over their underwater cultural heritage, exploring the legal issues, anthropological arguments and ethical dilemmas. It will also show the complexity of the language and the interpretation of international treaties for these communities. Finally, the article encourages inclusion of the Indigenous concept of intangible cultural heritage, arguing that Indigenous peoples have been, and are, innovative users of natural resources, and their traditional activities can benefit not only their own members but also the international community.

Intangible Cultural Heritage in Northeast China Films

In 2001, UNESCO adopted the Universal Declaration on Cultural Diversity, emphasizing the importance of all cultural heritage including the intangible cultural heritage of all countries and nations in the world for maintaining human cultural diversity and calling for strengthening the protection of the intangible cultural heritage. With the attention to intangible cultural heritage at home and abroad, the concept of intangible cultural heritage has gradually gained popularity. As a mirror of the times, movies also reflect this cultural phenomenon. Many movies use intangible cultural heritage movies as their slogans, forming a new landscape of the movie industry in the new century.

Musical sustainability vis-à-vis intangible cultural heritage: safeguarding and incentives in the Feast of the Virgin of Candelaria, Puno, Perú

ABSTRACT Both comparative assessment of the concept of intangible cultural heritage (ICH) and developments in musical sustainability, to ensure the viability of grassroots musical practices, have been important concerns among applied ethnomusicologists over the last decade. This paper identifies some of the challenges in the dialogue between these two approaches from an implementation perspective via the case study of the nomination process of the Feast of the Virgin of Candelaria of Puno, Perú to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The article analyses the incentives for state officers, music practitioners, and other stakeholders in ICH projects to assess their compatibility with musical sustainability frameworks. I argue that the main challenge in aligning these two approaches resides in the conflicting incentive structures both approaches feature. This paper advances current research on musical sustainability, ICH, and applied ethnomusicology by introducing conceptual developments for the analysis of institutional frameworks, partisan agendas, and decision-making processes.

Research on the Mining of Intangible Cultural Heritage Digital Resources in the Manual Online Teaching System of Preschool Education.

Our country's international status as a cultural power has been further enhanced, and the protection of intangible cultural heritage containing the essence of traditional culture is also gradually being carried out. In addition, with the rapid development of the digital environment, the public's cultural needs continue to grow, and the contradiction between the supply and demand of public digital cultural services continues to intensify. Converting intangible cultural heritage into digital form for protection and providing resource services for the public has become an important trend in the protection and inheritance of intangible cultural heritage at home and abroad, and it is also an inevitable requirement to solve the contradiction between supply and demand. Improving public cultural services is one of the key projects. At present, our country's research and practice of intangible cultural heritage digitization and services are also in progress, but there is no research on intangible cultural heritage digital resource services and system construction from the perspective of information service elements. Based on the digital resource service of intangible cultural heritage, the manual course is one of the main skill courses for preschool education majors. At this stage, the short class hours of manual courses, the lack of class hours, the low utilization rate of teaching materials, and the disconnection between the content and the needs of the kindergarten are all problems that need to be solved at present. Just relying on cross-references between schools, the manual knowledge and skills mastered by graduates are not comprehensive enough to complete the manual tasks assigned by the kindergarten. This paper implements the concept of intangible cultural heritage and hopes that by studying the manual knowledge and skills that today's kindergarten teachers need to possess, the content of existing manual courses can be adjusted in a targeted manner, so that the electronic culture dissemination of manual curriculum resources for preschool education is more reasonable, meeting the requirements of kindergarten teachers in terms of manual knowledge and skills.

Analysis of the Characteristics of Art Intangible Cultural Heritage in Cross-Cultural Communication

The birth of the cultural concept of intangible cultural heritage represents the renewal of human beings’ own cultural understanding, and also opens up a new field for academic research. Through literature reading, audience interviews, research and other research methods, the author has analyzed the characteristics and the important media role played of the intangible cultural heritage of art in international cultural exchanges. The intangible cultural heritage of art is characteristic of artistic aesthetics, cognitive intuitiveness, variety of categories, interactive participation, and cultural sharing, which effectively alleviates the constraints of cross-cultural understanding, cross-language communication, and cross-regional communication. It enhances the effectiveness of cultural communication, and is conducive to the realization of the sharing of human cultural.

Tamburitza practice as an intangible cultural heritage

In the paper, through the example of the tamburitza orchestra tradition in Serbia, the elements that place musical practice in the concept of intangible cultural heritage are defined. The results of the research conducted during the application process of the tamburitza practice in the National Register of Intangible Cultural Heritage of the Republic of Serbia are presented. The research provided answers to the questions of which communities consider the tamburitza practice as their intangible cultural heritage and part of their identity. The paper contains an analysis of collected field and archival data and a theoretical approach to the element on the basis of which the other factors and characteristics that make it an intangible cultural heritage were determined. The final part of the paper contains a brief overview of the concept of planning and implementation of measures to protect the element of intangible cultural heritage in the example of the tamburitza playing.

Decolonising or Recolonising: Struggles on Cultural Heritage

This article directly responds to an article authored by Iacono and Brown published in Dance Research (2016), and considers issues emerging since its publication. The core topic is the UNESCO Convention from 2003, and in our view, criticism in the 2016 article is based on misinterpretation. We address the claims that the Convention is marked by binarism and provide in-depth background for the concept of intangible cultural heritage. We also caution against using the biomorphic term ‘living cultural heritage’ as its application stands in an ambiguous relation toward essentialist, organicist and totalitarian ideologies. We end with a discussion on attitudes toward globalisation and the concept of innovation. These, we argue, have profound implications for recent discussions on decolonisation.

The Search for Identity: An Anthropological Interpretation of Engaged Research in Paštrovići and the Use of the Concept of Intangible Cultural Heritage for Identity Political Purposes

Paštrovići is the name of a clan and of an ethnographic area of the Montenegrin coast stretching from Čanj to Bečići and from the Adriatic Sea to Crmnica. I visited this region twice, in 2017 and 2018, as part of the Etno Lab project, directed by the Bauo Society for Cultural Development from the town of Petrovac by the Sea, with funds and other forms of assistance provided by the Municipality of Budva, the Ministry of Culture of Montenegro, and several local families. The purpose of the stay in Petrovac was engaged field research with the aim of exploring the "traditions" and cultural heritage of Paštrovići, with the intention of mapping potential elements for inscription on the list of Montenegrin intangible cultural heritage. In this paper, I start from the hypothesis that the organization of Etno Lab, the directing of research and, finally, the search for identity markers with a view to having them recognized as important and inscribed on relevant lists by the national state, are precisely a form of reflection of the socio-political identity turmoil which is primarily occurring at the political level in the nation state of Montenegro and then spilling over into social reality, where it assumes various forms. Thus, the paper is divided into four sections: a brief overview of socio-political changes in Montenegro; a discussion of the methodological procedures used in our research and their inadequacies; an anthropological interpretation of the concept and a search for elements of intangible cultural heritage in relation to the identity political uses of the given phenomena.

Social Media and Intangible Cultural Heritage for Digital Marketing Communication: Case of Marrakech Crafts

Morocco is endowed with an intangible cultural heritage of great interest at the global level, to which Moroccan craftsmanship, for which it is widely known internationally, makes a significant contribution. In today's, the notion of heritage is continuously expanding, experiencing an almost unlimited extension. The intangible heritage increasingly occupies a prominent place in the planning of several bodies, whose aim is to raise awareness among nations of the need to protect their cultural diversity and to help them to develop projects for the safeguarding and preservation of this category of heritage. The majority of marketing research has not addressed the issue of the relationship between social media communication and the promotion of intangible cultural heritage in the sense that there is an information deficit in addressing this issue. The concept of social media communication represents for professionals a lever of great importance since it has become indispensable to a good marketing strategy. It constitutes, in the context of research, a real tool for the promotion of intangible cultural heritage and the enhancement of territories. The main objective of this article is to explore the concept of intangible cultural heritage given the great importance it represents and its relationship with social media communication in the Moroccan context, especially in the promotion, transmission and even the safeguarding of this wealth. The study used a multidisciplinary exploratory in the fields of media communication and territorial marketing. Thus, the study focused on the two concepts: intangible cultural heritage and communication through social media, while analysing the nature of their interrelation in general and more specifically the relationship between communication through social media and the promotion of Marrakech handicrafts as part of Morocco's intangible cultural heritage. The results of this empirical study of an exploratory nature, conducted among 14 experts operating in the Moroccan handicrafts sector, demonstrated the existence of a strong relationship between the use of social media communication and the promotion of Moroccan intangible cultural heritage and more specifically the intangible cultural heritage of the city of Marrakech through the development and enhancement of its handicraft products. Keywords communication, intangible cultural heritage, Marrakech, Moroccan craftsmanship, social media.

Роль ЮНЕСКО и ВОИС в международно-правовой охране традиционных выражений культуры и традиционных знаний

INTRODUCTION. This article is devoted to analyzing the United Nations Educational, Scientific and Cultural Organization and World Intellectual Property Organization’s approaches to the protection of traditional cultural expressions and traditional knowledges. The study is aimed at comparison the UNESCO and WIPO’s instruments for traditional cultural expressions and traditional knowledge protection. MATERIALS AND METHODS. Research material include Conventions and “soft-law” instruments developed and adopted under UNESCO and WIPO auspices. The main methods of research consist of comparative method, method of description and historical method. RESEARCH RESULTS. The article describes chronological order of traditional cultural expressions and traditional knowledges including in the international agenda. In this research UNESCO and WIPO’s individual and collaborative efforts are taken into consideration. Great attention is paid to Proclamation of the masterpieces of the oral and intangible heritage of humanity program and its selection criteria. The article is illustrated by the examples of masterpieces of the Oral and Intangible Heritage of Humanity. The concept of intangible cultural heritage as defined in the Convention for the Safeguarding of the Intangible Cultural Heritage is a subject of a detailed analysis. This definition is compared with the WIPO concepts of traditional cultural expressions and traditional knowledge. DISCUSSION AND CONCLUSION. The article concluded that the intangible cultural heritage definition elaborated by the UNESCO is broad enough. It includes both traditional cultural expressions and traditional knowledge elements in terms of the World Intellectual Property Organization. The author concludes that the UNESCO promotes an integrated approach to traditional cultural expressions and traditional knowledge protection and is focusing increasingly on the its conservation while the WIPO focuses on preventing its illicit use.

A study on tourists' tendency towards intangible cultural heritage as an attraction (case study: Isfahan, Iran)

Abstract Human civilization is a set of material and immaterial achievements, none of which was produced without the other. Intangible cultural heritage and spiritual heritage are part of the achievements of human civilizations that give them identity. Isfahan is a city known for its tangible cultural attractions such as Islamic architecture, handicrafts, palaces, Persian gardens, etc. However, it has much intangible cultural heritage that tourists are not familiar with and which is not considered as a tourist attraction. This paper's concern is to study intangible cultural heritage of the city of Isfahan (Iran) as a new tourist attraction. Moreover, this research has three major purposes: 1) to investigate the tendency of tourists towards intangible heritage; 2) to measure tourists' awareness of intangible heritage; and 3) to determine the priority of intangible heritage attractions and activities from the domestic tourists' perspective. On the basis of the results of this study it can be concluded that domestic tourists are not familiar with the concept of intangible cultural heritage. However, tourists are interested in intangible heritage attractions and activities, especially in cooking and tasting local foods, making and tasting local sweets, traditional medicine and medicinal plants and gaining a certain level of skill in producing traditional crafts.

The Tautology of “Intangible Values” and the Misrecognition of Intangible Cultural Heritage

ABSTRACTThis paper explores the contradictions of the advent, dissemination and use of the terms “intangible value” and “tangible value.” We examine their logical and grammatical incoherence, and the “work” that these strange terms, so often used in tandem, do to domesticate what are for some people the uncomfortable implications of the concept of intangible cultural heritage. In developing our argument, the paper draws on a range of policy and academic documents to illustrate the extent of the professional and academic unease with the concept of intangible heritage, and the degree to which this unease unintentionally fosters the maintenance of the authorized heritage discourse.

무형문화재의 개념 확장과 전통문화 보전·활용 - 충남 서천군 마서면의 전통문화 전승을 사례로 -

전통문화는 공동체 구성원들이 오랜 기간에 걸쳐 함께 형성하고 유지해온 역사 이자 삶 그 자체이다. 단순히 옛것에만 머무는 것이 아니라, 우리 삶을 더욱 풍부 하게 해주고 새로운 문화를 창조하는 기반이 되어주는 등 다양한 가치들 담고 있 는 것이 전통문화이다. 최근에는 정부나 지방자치단체에 의한 문화유산 활용 정책 이 활발해지고 민간 참여도 점차 활성화되는 등 전통문화를 포함하는 문화재의 가 치를 새롭게 인식하고 있기도 하다. 이에 비해 전통문화 중 일부만이 후세에 전할 만한 가치가 있다고 인정받아 무 형문화재로 지정되어 있으며, 전통문화 중에서도 무형문화재로 지정된 것에만 큰 의미를 부여하는 것이 일반적인 인식이다. 그러는 사이 사회문화적 변동 등으로 인해 전통문화는 급격히 소멸되고 있으며, 무형문화재로 지정된 것들도 예외가 아 니다. 이러한 한계를 넘어서기 위해서는 현행 무형문화재 제도에 더해 실물 자료 수 집·보존과 디지털 자료를 포함하는 전통문화 아카이브 구축을 병행해야 한다. 전 통문화 아카이브를 무형문화재 보전을 위한 보조적 수단으로만 활용하는 것이 아 니라, 전승자를 중심으로 하는 무형문화재 정책과 전통문화 아카이브를 두 축으로 하여 전통문화 및 무형문화재 보전의 실효성을 높이고 그 지평을 넓혀가야 한다는 것이다. 구체적으로는 새로 시행되는 「무형문화재 보전 및 진흥에 관한 법률」에 근 거하여 무형문화재 지정을 가능한 한 확대하는 등 무형문화재 정책을 강화하고, 전통문화 전반을 아우르는 것으로 무형문화재의 개념을 확장함으로써 미래적 관 점에서 전통문화를 더욱 풍부하게 보전할 수 있다. 이처럼 전통문화의 특성과 그 것의 전승 실태에 적합한 맞춤형 정책을 펼칠 때 전통문화 보전·활용은 실효성을 높일 수 있을 것이다.

A question mark for the taverns of Belgrade

This paper discusses the concept of intangible cultural heritage through the analysis of the state of Belgrade taverns, which are left to ruin. The main pattern of the paper is an attempt to define a place and importance of the taverns as an intangible cultural heritage given their presence throughout the centuries in this capital city's life. Paper also explores inns as cultural property monuments, defining their characteristics with the aim of grasping their value. As such, taverns can be seen as cultural monuments encapsulating the intangible cultural heritage. In the end paper gives reasons why the old taverns should be preserved from demolition and the uniformity of globalization, primarily for the reasons of safeguarding the national and cultural identity, giving the possible ways of their protection through projects.

A Kunqu Masterpiece and its Interpretations: Tanci (The Ballad) from Hong Sheng’s Changsheng Dian (Palace of Lasting Life)

A KUNQU MASTERPIECE AND ITS INTERPRETATIONS: TANCI (THE BALLAD) FROM HONG SHENG’S CHANGSHENG DIAN (PALACE OF LASTING LIFE) JOSEPH S. C. LAM University of Michigan ‘‘Cangliang’’ 蒼凉 (desolate) is how many Kunqu 崑曲 connoisseurs would characterize Tanci 彈詞 (The ballad), scene 38 of Hong Sheng’s 洪昇 (1645–1704) Changsheng dian 長生殿 (The palace of lasting life; henceforth CSD),1 one of the last masterpieces (jiezuo 杰作; jingdian 經典) of chuanqi 傳奇 drama.2 Since 1688, the year CSD was completed, Tanci was and still is regularly performed by both amateur and professional performers as vocal music (qingchang 清唱) or as an independent scene-play (zhezixi 折子戲). Historical performances of Tanci and other CSD scene-plays mark critical developments in the history of Kunqu in Qing (1644–1911) and Republican China (1911–1949),3 as well as more recent decades. 2 As can be seen in the commentaries on the Confucian classics that permeated traditional Chinese culture and scholarship, and the historical discussions of specific works of Chinese calligraphy, literature, music, painting, and other artistic and cultural expressions, China has a long tradition of canonizing and examining exemplary and representative works as masterpieces. Recently, China enthusiastically embraced the quite broad and flexible conception of ‘‘masterpiece’’ involved in UNESCO’s concept of ‘‘Masterpieces of Oral and Intangible Cultural Heritage’’ (ICH), which includes the importance of safeguarding such masterpieces. The first list of these masterpieces, promulgated in 2001 by UNESCO, included Kunqu. For a representative introduction to Chinese theories and practices of ICH, see Wang Wenzhang 王文章, Feiwuzhi wenhua yichan gailun 非物質 文化遺產概論 (An overview of the concept of intangible cultural heritage; Beijing: Xinhua shudian, 2006). Approaching the different versions of Tanci as masterpieces of ICH facilitates the detailed examination of their structural features and artistic meanings. 1 For example, in the episode on ‘‘Cangliang zhi mei’’ 蒼涼之美 (The beauty of desolation) in her CCTV series on Kunqu, Youyuan jingmeng 遊園驚夢 (Stroll in the garden, the interrupted dream), Yu Dan 于丹 uses Tanci as a prime example. The series is available on DVD and the episode is available online as ‘‘Shuoxi: Changsheng dian Tanci’’ 說戲: 長生殿彈詞 (Talking of plays: Tanci of Changsheng dian), http://xiyou.cntv.cn/v-fc636950-f4cc-11e1-b091a4badb4696b6 .html, accessed August 1, 2014. For another example of such a characterization of Tanci, see Anonymous, ‘‘Changsheng dian: Tanci’’ 長生殿彈詞’’; http://baike.baidu.com/view/ 2404234.htm; uploaded by Anonymous on unknown date; accessed on July 15, 2014. 3 A well-known saying describing eighteenth-century Suzhou, Jiajia ‘‘Shoushiqi,’’ huhu ‘‘Bu tifang’’ 家家收拾起, 户户不提防, makes the claim that the sound of the singing of Tanci and another Kunqu scene-play can be heard in ‘‘every household.’’ It refers to the two plays by the opening characters of their first arias. On this saying, and how it has been frequently been misinterpreted, see Liu Zhizhong 劉致中, ‘‘Jiajia ‘shoushiqi,’ huhu ‘bu tifang’ kaobian’’ 家家收拾 起, 户户不提访考辩 (On ‘‘In every family there is [the sound of] ‘Packing up,’ In every dwelling there is [the sound of] ‘Unexpectedly’’’), Xiqu xuebao 戲曲學報 (Theater journal) 1(2007): 1–22. CHINOPERL: Journal of Chinese Oral and Performing Literature 33.2 (December 2014): 97–120 # The Permanent Conference on Chinese Oral and Performing Literature, Inc. 2014 DOI: 10.1179/0193777414Z.00000000022 What makes Tanci an unforgettable expression of desolation? Who would enjoy a Kunqu performer in the old man role (laosheng 老生) singing, by himself, ten or twelve arias in succession and for thirty or so minutes on stage? Why would elite, erudite, and senior men sing selected arias from Tanci for themselves and their friends in social gatherings?4 A commonly heard answer is that the scene-play is a masterpiece, one that exemplifies the best of Kunqu, a 600-year old tradition of classical Chinese opera. The genre seamlessly integrates literary, musical, kinetic, and visual expressions into an exquisite multi-media representation and negotiation of Chinese culture and history.5 To illustrate and nuance this answer, which evokes but does not explain salient facts and values of the Chinese performing arts, this essay examines Tanci as a literary-musical masterpiece of Chinese operatic creativity, performance, and reception. Tracing Hong Sheng’s biography and creative process for the sceneplay , analyzing its dramatic and notated texts, and reviewing past and current performances, this essay posits that Tanci exists not only as a masterpiece of...