The "manufacturing" And Protection Of Intangible Cultural Heritage From The Perspective Of Critical Heritage Theory

This thesis mainly takes "Authorized Heritage Discourse"(short for AHD)and"Popular Discourse" from Laura Smith's "Ciritical Heritage Studies" to analyze the production of Intangible Cultural Heritage(short for ICH)and discusive interaction in Naxi Ancient Music.In this article,the author explored the mechanism behind the interaction,the criteria of the ICH,and the radical cultural logic behind all those cultural activities in between the heritage "making"."Critical Heritage Studies" reclaims that heritage also isn't just about material things...heritage is a process of engagement,an act of communication and an act of making meaning in and for the present,it has been constructed by various process and defined by different groups.The AHD and popular discourse are the key concept representing the different groups in heritage and illustrate practical characteristics,which can also show the mechanism and the vitality of heritage production.The first chapter of this study is the introduction,the second chapter will explore the intangible cultural heritage production of Naxi Ancient Music,from the concept of ancient music production and legislative practice to explore the internal structure,organization and internal relations of AHD.The third chapter is based on the use of intangible cultural heritage in Naxi Ancient Music,showing how intangible cultural heritage is used as a resource by different groups of people,the entering of the list and operation of the authorized ancient music team and the uses of non-performing groups constitute the main contents,present the relationship between different popular discourses and intangible cultural heritage,and what the internal collusions and tensions are like.In response to the dichotomy of the two discourses in the critical heritage theory,the fourth chapter emphasizes "intermediary agent " between the AHD and the popular discourses.In this part,the author will outline how the AHD and the popular discourse interact and dialogue in Naxi ancient music from both individual and institutional aspects.In the fifth chapter,the author will address and summarize the achievements and problems of this research.The conclusion of the author of this study is that both heritage and intangible cultural heritage are social and cultural processes with a free social life,and all kinds of discourses and forces assign different values and meanings to intangible cultural heritage around their respective demands,in this process,different discourses collectively "make" the intangible cultural heritage.There are indeed AHD and "popular discourses" in the context of intangible cultural heritages in China,but their characteristics presented in this case study are indeed different from the original definition of critical heritage theory,and both have inward pluralism and competition,outward coordination and cohesion.At the same time,the two discourses are not dualistic opposition,not to say they are utterly different.The intermediary agent between the discourses is the bridge between the AHD and the popular discourses.