The Benefits of Chinas Intangible Cultural Heritage - Research Paper Example

Name Instructor Course Date Intangible Cultural Heritage in China Table of Contents 1.0 Abstract 2 2.0 Introduction 3 2.1 General Objective 4 2.2 Specific Objective 4 3.0 Literature Review 4 4.0 Intangible Cultural Heritage in China 6 5.0 Importance of Intangible Cultural Heritage in China 11 6.0 Importance of Studying the Benefits of Intangible Cultural Heritage in China 14 7.0 Conclusion 16 Work Cited 18 Table of Figures Figure 1: Engraved Block Painting 6 Figure 2: Nainjing Cloud- Pattern Brocade 7 Figure 3: Oil Paper Umbrellas 8 Figure 4: Longquan Swords 8 Figure 5: Tieguanyin Tea 9 1.0 Abstract UNESCO defines intangible cultural heritage as the expression, representations, practices and their associated skills and knowledge that a group of people or individual recognise to be part of their heritage. China is one of the countries in the world with richest intangible cultural heritage. The paper, therefore, is a study of the intangible cultural heritage in China. Its specific objectives were: (i) to determine the intangible cultural heritage in China; (ii) to evaluate the importance of the intangible cultural heritage in China and (iii)to analyze the importance of studying the benefits of China’s intangible cultural heritage. China's rich intangible cultural heritage can be understood on emphasis in its historical context. Examples of the country's intangible cultural heritage are engraved block, Nanjing cloud, oil paper umbrellas, Longquan swords, and Tieguayin Tea. Others include hand copying and block painting. The UNESCO Convention on the intangible cultural heritage protection was a wake-up call on the China government. However, the efforts of the China government to protect the intangible cultural heritage in the country can be traced back to 1950's with the law seeking protection being the greatest benchmark. The efforts of the government to protect the intangible cultural heritage have been due to its importance to the country. The heritage has allowed for the transmission of skills and knowledge within and across generations. It has also acted as a source of revenue to the country besides bringing employment to a wide variety of people in the society within or outside China. Furthermore, the intangible cultural heritage has promoted inclusiveness among societies, improved representation, and caused a sense of unity among the locals. Furthermore, it has allowed for the passage of collective memory, social and cultural values, and knowledge as it permits the reflection of human creativity. Studying the benefits of intangible cultural heritage in China promotes conservation of the same. In explanation, it allows for a comprehensive understanding of the heritage and enables people to appreciate it even more thus developing efforts to conserve them. 2.0 Introduction The United Nations Educational, Scientific, and Cultural Organization, abbreviated as UNESCO, defines ‘intangible cultural heritage’ as the expression, representations, and practices and their associated skills and knowledge that groups, communities, and individuals recognize to be part of their cultural heritage. It is also known as the cultural heritage that is alive and manifested among several forms of life (Institute of Ethnic Literature). For instance, it can be expressed through expressions, oral traditions; performing arts; festive events, rituals, and social practices; practices and knowledge relating to universe and nature; and traditional craftsmanship. The cultural heritage is passed from one generation to another and often adjusted by groups and communities as an adaptation mechanism. The changes are determined by the historical condition of the society, interaction among the people and nature, and the environment. The UNESCO convention dealing with intangible cultural heritage enables a sense of continuity and identity among the locals and their culture. The convention also sustains, develops, and promotes human creativity and cultural diversity. UNESCO defines intangible cultural heritage in four major programs: Traditional Music of the World; Endangered Languages; Living Human Treasures; and Proclamation of Masterpiece of the Oral and Intangible Heritage of Humanity. China classifies its intangible cultural heritage from the county to the national level. The great recognition of the heritage has seen the government setting second Saturday of June a holiday dubbed “Day of Cultural Heritage” since 2006. The holiday allows the China communities to express their cultural heritage in a comprehensive manner (Ismail, Masron, and Ahmad 3). UNESCO’s World Intangible Cultural Heritages List has inscribed thirty-four Chinese elements as by 2010. Twenty-eight of the Cultural Heritages are on the Representative List while six are on the List of Intangible Heritage in Need of Urgent Safeguarding. UNESCO has been calling for the protection of both the intangible and tangible cultural heritage. However, in some instances, China has failed in the protection of the tangible cultural heritage. For instance, China demolished the old walls of Beijing City that saw it losing the diversity and unique style associated with it (Institute of Ethnic Literature). In addition, some of the traditional villages in China have disappeared with building taking their place. 2.1 General Objective The paper aims to analyze China’s intangible cultural heritage. 2.2 Specific Objective The specific objectives of the study are; 1. To determine the intangible cultural heritage in China 2. To evaluate the importance of the intangible cultural heritage in China 3. To analyze the importance of studying the benefits of China’s intangible cultural heritage 3.0 Literature Review According to Ye and Zhou (497), China is the world popular nation relating to intangible cultural heritage. The positive image is due to the efforts of UNESCO efforts on heritage conservation that was initiated on 18 May 2001. The announcement made the Chinese government adjust its efforts in protecting the intangible cultural heritage. Through the support of the UNESCO conventions, twenty-nine China projects are listed among the anthropogenic intangible cultural heritage. Examples of the heritage listed include Chinese paper cutting, calligraphy, Chinese Dragon Boat Festival, and the pre-modern construction techniques. Liu, in agreement, argues that intangible cultural heritage has placed China on the world map. However, the concept is not well understood by the academicians. As a result, many academicians in China have been conducting studies in the cultural field to address the information gap. The adoption of the idea by UNESCO in October 2003 through the Convention for the Safeguarding of the Intangible Cultural Heritage has just seen academicians develop the interest in the area. Some of the challenges relating to the field are that the Chinese academic world not to understand well the theories relating to the heritage since the field has no specific comprehensive theoretical framework. The information gap makes the field worth of discussion in the academic context. In agreement, Yu Liu (1334) emphasises the need for translating of the China's cultural aspect. Even though his focus is to allow the participation of the foreign tourists in the conservation, the translation aspect can also allow further studies in the field. For instance, translation of the Xanadu's history into English will see more scholars engage in the study of the same. However, the translation should be done with care to ensure that meanings about culture are not lost in the process. The context of intangible cultural heritage has seen issues such as superstition to gain value in China. For instance, the dragon god that was a superstitious element in the Chinese culture is today recognised as an intangible cultural heritage element in China (Bingzhong 551). However, the recognition has not been a direct but with several reforms and evolution in the Chinese culture. The reforms have assisted in the preservation of some of the culture that the traditional Chinese considered important. However, Li (355) argues that China is not doing the enough in the protection of the intangible cultural heritage on matters about legal framework despite it promising benefits to the country. The Republic of China enacted the Intangible Cultural Heritage Law on 25 February 2011 as the landmark for the conservation. The law emphasized on protecting of the intangible cultural heritage. However, the law focuses only on the public context and not the private law. In explanation, the legal framework formed comprehensively addresses the administration issues but not legal rights of the private entities. 4.0 Intangible Cultural Heritage in China China is rich in intangible cultural heritage that can be understood comprehensively through the historical context that they existed. The heritage includes engraved block, Nanjing cloud, oil paper umbrellas, Longquan swords, and Tieguayin Tea (China Central Television) . Hand copying and block painting simultaneously existed in the Chinese society since printing was not yet a friendly technology in the Tang Dynasty. The two heritages, therefore, were simultaneously used address the space that printing covers in the modern society. By the beginning of Sing Dynasty, block printing had become more popular. Zhejiang and Jiangsu rapidly went through a cultural boom thus exposing them to the modern people. Source: China Central Television Figure 1: Engraved Block Painting The Nanjing cloud, on the other hand, traced its history fifteen hundred years ago. It started in the Ming Dynasty that was located in the southern part of Nanjing. The area was the busiest since commercial undertakings were frequently conducted in it (China Central Television). However, before the Qing Dynasty workshops that conducted brocade weaving was found on the three of the several streets. In explanation, most of the craftsmen in the area were brocade weavers. Brocade was the most outstanding silk fabric technology that China has ever had. It was regarded as the best technology in China. It is out of the technology that Nanjing cloud-pattern came to exist. Source: China Central Television Figure 2: Nainjing Cloud- Pattern Brocade The oil-paper umbrellas are a traditional umbrella in China. The folk craft and art is more than 5000 years old (China Central Television). Furthermore is the most brilliant of the folk arts in the historical culture of the Chinese. The rib of the oil paper bamboo is made of bamboo that is approximately three years old. Source: China Central Television Figure 3: Oil Paper Umbrellas Another intangible cultural heritage among the Chinese is the Longguan swords. The sword needs several raw materials to be of quality. For instance, to develop the sword, the purest of water is needed, fuel from quality pine wood, and best deposits of iron is needed (China Central Television). In addition, the human skill required must be creative and intelligent apart from having a great experience. It also need a quite area with no distraction. Source: China Central Television Figure 4: Longquan Swords Tieguanyin tea is another intangible cultural heritage in China. It is a heritage at the state level. It is, therefore, among the projects protected at the state level. In English, Tieguanyin tea is referred to as Iron Goddess Tea (China Central Television). It is the most common type of the Chinese tea. It originated from the Anxi County, Fujian Province. Source: China Central Television Figure 5: Tieguanyin Tea Other intangible cultural heritages in China include Shaolin Kungfu, Gaomi- Papercuts, Qinqiang, Kunqu, Shadow Play, and Tang Tri- colored glazed pottery. Shaolin Kungfu is a branch of the martial art practiced among the Chinese. The art originated from the Shaolin Temple located on the Songshan Mountain in the Henan Province, China. It has evolved over 15 decades to become a comprehensive martial art with unique features and numerous varieties. Shaolin Kungfu is often used for self-defense and body building thus very common among the Chinese. Furthermore, its positive impacts to health have seen it gain popularity globally. Gaomi- Papercuts, on the other hand, is linked to Gaomi which is located in Shandong Province. School-going-children and women often use the art. The artwork can be traced to the times of the Ming Dynasty. During the early moments of Hongwu, people from Hebei, Henan, Jiangxi, and Shanxi migrated to Gaomi (China Central Television). Among the people were the artists that specialized in paper-cut thus developing the present style called Gaomi Paper-cuts. The artwork entails several motifs including historical stories and daily life activities. Qinqiang originated from the Shaanxi Province. It had melodies that originated from the Xi'an. The melodies were formed from the shouting of the peasants in their farms that led to the formation of songs for communication purposes. Qinqiang is most affluent and oldest operas in China. Meanwhile, Kunqu is the one of the most popular pre-modern operas in China. It can be traced back to Ming Dynasty and a small town called Kunshan. Some parts of China consider Kunqu to be the source of all the opera enjoyed in China today. The art has been integrated into dance and music, spirit and poetry in China. Shadow play is a type of drama that entails the use of silhouettes and projection on a screen. The artists work to manipulate the characters while singing so as to communicate to the audience. The shadow play came into existence during the Han Dynasty era. In the 13th century, it spread to Shaanxi Province in China, to South Asia, North Africa, West Asia and Central Asia. Lastly is the Tang tri-colored glazed pottery. During the Tang Dynasty, lavish funerals used the artwork for burial purposes. The artwork is technically made and needs extraordinary skills to develop. The Chinese government has made tremendous efforts to secure the intangible cultural heritage in the country. For instance, in 1950's the government brought together experts to identify the less famous cultural heritages in the country. The identification was followed by efforts to nurture and protect the number of crafts and traditional arts. The government went ahead to form a panel of 200 crafts and art masters that began the protection process. In 1979, the government initiated the literature work as a way of protecting the heritage (China Central Television). The literature included art books and folk literature that ensured the storage of the information and cultures thus allowing for the passage to the next generation in its holistic nature. In 2003, a project was initiated that would ensure the protection of the folk culture of the Chinese at the national level. The project was to take seventeen years with a focus on developing a more comprehensive protection system for the heritage by 2020. In 2004, the government developed a list for protecting folk culture. The list gave a plan to which the folk culture was to be conserved. In 2006, the government issued a decree dubbed "The first batch of the national level intangible cultural heritage list" (Ye and Zhou 498). The decree covered five hundred and eighteen were listed in the national catalogue and named seven hundred and fifty-eight units to be protected. In 2007, the China government conducted a national census on the intangible cultural heritage. The process was systematic, comprehensive, and scientific that saw the process breakthrough in 2008. In the same year, the government set aside an awareness day on cultural heritage. In 2009, the government expanded the protection system to cover the national, provincial, city, and county level. The protection system entailed rewards, commendations, awarding, and naming of persons that promote conservancy of the intangible cultural heritage. The census was completed in 2010 costing the government approximately 800 million CNY. China enacted “The intangible cultural heritage law” in 2011. 5.0 Importance of Intangible Cultural Heritage in China Intangible cultural heritage provides the society with a wealth of skills and knowledge despite being a cultural manifestation. The skills and knowledge are transmitted from one generation to another (Jordan 15). The transmission of the economic and social values is important to the mainstream social groups as same as the minority ones within a nation. It is, therefore, important for both the developed and the developing world. China's intangible cultural heritage is living, contemporary, and traditional at the same time. In explanation, it does not show only the inherited traditions from the previous generations but also the urban and rural practices in China that are rich of distinct cultures. Heritage also brings some sense of inclusivity in the society. The China’s intangible cultural heritage is shared thus many people associate themselves with them. The heritage can be from a neighbouring village, city, or from a minority group that migrated to a particular land (Jordan 15). It contributes to social cohesion and also develops a sense of responsibility and identity among the stakeholders thus making them feel part of the society. China's cultural heritage is representative in nature. The heritage acknowledgement and celebrations develop a sense of inclusivity even to the marginalised groups. It is not just a culture; it also has exceptional and exclusivity value. Heritage does well at the community level and allows customs and skills to be passed from one generation to another (Jordan 17). It is also passed across communities. Intangible cultural heritage brings a sense of unity in the society. Heritage in China has made the county be seen as one since it is based at the community level (Blumenfield and Silverman 201). Even though it can be created by an individual, group, and community, the outcome is often associated with a group of people. It is, therefore, important for them to be maintained and transmitted. Furthermore, the society must recognise it as a heritage. Intangible heritage allows for the passage of collective memory, social and cultural values, and knowledge. Heritage, therefore, plays an important part in maintaining the cultures (Evans and Rowlands 272). Furthermore, performing and displaying cultural heritage has turned to be an occupation among some people thus a source of income. Furthermore, professionals have engaged in the field including academicians thus making the field special. For instance, there are several professional storytellers and historians in China. Cultural heritage such as performing arts express culture and allows for the reflection of human creativity. The performing arts include theatre, dance, traditional music, sung verse, and pantomime (Evans and Rowlands 272). Music is the most accepted form of performing arts while the intangible cultural heritage in China includes oral traditions, festive events, and rituals. The traditional theatre performances in China are in the form of pantomime, puppetry, recitation, narration, dialogue, music, and dance, singing, and acting. The movements of the performers express the mood or sentiment and can also be used to illustrate daily activities or a particular event such as traditional religious dances and warfare. Heritage structures the lives of the China communities through festive events, rituals, and social practices. It reaffirms the identity of the community that engages in the practice thus making the vital elements not to be lost (Blumenfield and Silverman 210). The festive, rituals and other social events help in the identification of the agricultural calendar events, human being stages, and the passing of seasons. The social events can be in a variety of forms including funeral, weeding, and birth rituals; allegiance oaths; settlement patters; traditional sports and games; and ritual kinship and kinship ceremonies among others. China’s intangible cultural heritage also enables the conservation of practices and knowledge that relate to the universe and nature. Some of the practices and knowledge that relate to the universe and nature are expressed through worldview, spiritual activities, and memories that they are attached (Blumenfield and Silverman 210). Most of these memories are passed across generations as communities consider them. The heritage, in turn, can affect a community's perception of nature thus encourage its conservation. In explanation, heritage can influence the beliefs and values that underlie the cultural traditions and social practices in a given society. On the other hand, heritage is influenced by the natural environment and wider view of the community. In specific, some of the areas that the Chinese have excelled in expressing their heritage include visual arts, languages, social organizations, possession rites, shamanism, cosmologies, initiatory rites, beliefs, rituals, traditional healing systems, and through local flora and fauna. Lastly, intangible cultural heritage as per the definition of UNESCO assists in the preservation of the cultures in China. As a result, it improves the diversity of culture in the country thus attracting more recognition and tourists (Evans and Rowlands 272). Furthermore, it has enabled China to be more recognised in the world due to their rich culture. An understanding of the cultural heritage of distinct communities also enhances intercultural dialogue and promotes mutual respects among communities and individuals. 6.0 Importance of Studying the Benefits of Intangible Cultural Heritage in China Studying the benefits of intangible cultural heritage enables appreciation of the efforts made by UNESCO in the conservation of the same. In other words, it enables a comprehensive understanding of the importance of the cultural heritage and how their sites can be properly managed. Furthermore, it allows for the determination of the significance of the intangible cultural sites in China thus allowing for the development of feasible and sustainable structures that would allow for their protection (Svensson 19). Studying the benefits of intangible cultural heritage in China enables people understand the society better and appreciate it (Noronha and Chaplin 1538). It allows one to be able to link the events and occurrences in today's life. It allows for the tracing back of the previous events to allow for conservation of the same since sustainability can only be attained through an understanding of the principle concepts underlying cultural heritage. It is, therefore, important to study the benefits of China intangible cultural heritage. Studying the benefits of China’s intangible cultural heritage also allows one to understand the changes that have occurred over years. It permits the understanding of how have changed occurred over years and whether they are positive or negative changes (Wang 34). The determination of changes can also be linked to the historical benefits experienced and the ones enjoyed today through a comparison. Studying the benefits of intangible culture help people understand how such practices are of value to the society thus call for their preservation. Studying the benefits of China's intangible cultural heritage develops as a sense of identity of the respective communities at the global level. Appealing things are often attractive, and many people work on knowing more about them (Noronha and Chaplin 1538). Studying the heritage, therefore, enables the involved communities to be appreciated at the international levels since academics have no boundaries. It also allows for the preservation of the positive stories relating to the China’s cultural heritage. In explanation, most of the studies end up getting published either in softcopy or hardcopy. The publication can take years and centuries since people refer to them develop new documents. Studying the cultural heritage, therefore, preserve the stories and their integrated benefits for the future generations. Furthermore, it is the most comprehensive way of conserving particular cultures. Studying the benefits of China's intangible cultural heritage is inspirational. Through studies, one can understand the benefits that intangible cultural heritage brings to the Chinese (Noronha and Chaplin 1538). As a result, he or she becomes more inspired to take actions that would see the benefits become more sustainable. The inspirational benefits can be passed through generation through reports (Huibin, Marzuki, and Razak 39). Inspiration gained through studying the benefits of cultural heritage in China is as good as protecting the areas itself. Furthermore, studying the benefits of China’s cultural heritage helps people become better. It enables one have a greater understanding of the cultures and how it positively impacts on the world. Studying the benefits also enables people to recognise the role that heritage and culture play in our society today. 7.0 Conclusion Traditional practices and knowledge are the principle factors that determine a community’s identity and culture. However, they have been threatened by globalisation. The efforts of UNESCO are, therefore, viable and will play a crucial role in the protection of the world’s heritage. Most of the traditional knowledge is on the verge of extinction apart from those adopted by the corporations and scientists such as those with medicinal value like the tieguanyin tea. For example, agricultural lands extension and rapid urbanization have affected the natural environments in China communities thus leading to lose of the sacred forests and the artwork associated with them. Furthermore, climate change has been a threat to most of the intangible cultural heritage site. For instance, climate change has seen the encroachment of deserts that has threatened several of the endangered species. As a result, many of the endangered plant species and other raw materials for medication have disappeared thus reducing the extent of traditional craftsmanship. Even though China can boasts of still having the richest heritage in belief systems and worldview, preserving it is more complicated compared to that of the natural environment. The main threat for the case is globalisation and the improvement of technology over years. The external challenges that cause a threat to the belief systems and worldview can be in the form of social relations, natural environment, and economic development. The three facets have been modified through globalisation and no longer represent the customs and traditions of the locals. Furthermore, they seem more attractive since they are modern and defined to be fashionable, most locals, therefore, tend to consider them at the expense of their cultural heritage. It is, therefore, important for intangible cultural heritage to be safeguarded. The conservation can only be made possible if the culture is relevant to the community in question and it has to be redeveloped and transmitted continuously from a particular generation to the next. Failure of which, most of the intangible cultural heritage of China risk being lost. Even though preservation could assist in the conservation of heritage, some of the elements could disappear in the process. Safeguarding or preserving do not equate in freezing or fixing the intangible cultural heritage in a primordial or pure form. It is about knowledge, meaning, and skills transfer within and across the generations. The point explains why the UNESCO Convention emphasises the communicating r transmission of heritage from generation to another as opposed to the production of manifestations that are concrete such as crafts, musical instruments, songs, and dances. Safeguarding measured required for the transmission of the intangible cultural heritage in China from generation to the next is different from that needed for the protection of the tangible heritage which is either cultural or natural. However, some of the elements link both the tangible and intangible cultural heritage. As a result, the Convention defines the intangible cultural heritage to include artifacts, objects, instruments, and the cultural spaces that link to it. Work Cited Bingzhong, Gao. "How Does Superstition Become Intangible Cultural Heritage in Postsocialist China?." positions 22.3 (2014): 551-572.Pdf. Blumenfield, Tami, and Helaine Silverman. Cultural Heritage Politics in China. New York, NY: Springer, 2013. Print. China Central Television. China’s Intangible Cultural Heritage. China Central Television, 2014. Web. 7 May 2016. < http://english.cntv.cn/program/journeysintime/special/culturalheritage/ > Evans, Harriet, and Michael Rowlands. "14 Reconceptualizing Heritage in China." Museums, Heritage and International Development 1 (2014): 272-294. Pdf. Huibin, Xing, Azizan Marzuki, and Arman Abdul Razak. "Protective development of cultural heritage tourism: The case of Lijiang, China."Theoretical and Empirical Researches in Urban Management 7.1 (2012): 39-54. Pdf. Institute of Ethnic Literature. China’s Intangible Cultural Heritage. Institute of Ethnic Literature, 2009. Web. 7 May 2016. < http://iel.cass.cn/english/Detail.asp?newsid=2393 > Ismail, Norhasimah, Tarmiji Masron, and Azizul Ahmad. "Cultural Heritage Tourism in Malaysia: Issues and Challenges." SHS Web of Conferences. Vol. 12. EDP Sciences, 2014. Pdf Jordan, Peter. Geographical Names As a Part of the Cultural Heritage. Wien: Institut für Geographie und Regionalforschung der Universität Wien, Kartographie und Geoinformation, 2009. Print. Li, Luo. "Does intangible cultural heritage law resolve everything in China." Journal of International Commercial Law & Technology 7.4 (2012): 355-362.Print. Liu, Zhuang. "Indigenising Intangible Cultural Heritage: Comparison and Interpretation of the Concept of ICH in China." International Journal of Intangible Heritage 10 (2015): 126- 134.Pdf. Noronha, Manuel António, and Robert Ian Chaplin. "Preserving and Interpreting Intangible Cultural Heritage in an Ethnolinguistic Community: The Case of Portuguese Language, Patois, and Creole in Macau." US-China Foreign Language 10.9 (2012): 1538-1546.Pdf. Svensson, Marina. "In the Ancestors’ Shadow: Cultural Heritage Contestations in Chinese Villages (2005)." Print. Wang, Yuan. "Management of the Grand Canal and it's bid as a world cultural heritage site." Frontiers of Architectural Research 1.1 (2012): 34-39. Pdf. Ye, Peng, and Yao-lin Zhou. "The Development and Trends of China’s Intangible Cultural Heritage Representative List." Folk literature 31.53 (2013): 497-501.Print. yu Liu, Jin. "Translating intangible cultural heritage in an ethnolinguistic community: a case study of the site of Xanadu in inner Mongolia." Journal of Language Teaching and Research 5.6 (2014): 1334-1339. Print. Read More

The changes are determined by the historical condition of the society, interaction among the people and nature, and the environment. The UNESCO convention dealing with intangible cultural heritage enables a sense of continuity and identity among the locals and their culture. The convention also sustains, develops, and promotes human creativity and cultural diversity. UNESCO defines intangible cultural heritage in four major programs: Traditional Music of the World; Endangered Languages; Living Human Treasures; and Proclamation of Masterpiece of the Oral and Intangible Heritage of Humanity.

China classifies its intangible cultural heritage from the county to the national level. The great recognition of the heritage has seen the government setting second Saturday of June a holiday dubbed “Day of Cultural Heritage” since 2006. The holiday allows the China communities to express their cultural heritage in a comprehensive manner (Ismail, Masron, and Ahmad 3). UNESCO’s World Intangible Cultural Heritages List has inscribed thirty-four Chinese elements as by 2010. Twenty-eight of the Cultural Heritages are on the Representative List while six are on the List of Intangible Heritage in Need of Urgent Safeguarding.

UNESCO has been calling for the protection of both the intangible and tangible cultural heritage. However, in some instances, China has failed in the protection of the tangible cultural heritage. For instance, China demolished the old walls of Beijing City that saw it losing the diversity and unique style associated with it (Institute of Ethnic Literature). In addition, some of the traditional villages in China have disappeared with building taking their place. 2.1 General Objective The paper aims to analyze China’s intangible cultural heritage. 2.2 Specific Objective The specific objectives of the study are; 1.

To determine the intangible cultural heritage in China 2. To evaluate the importance of the intangible cultural heritage in China 3. To analyze the importance of studying the benefits of China’s intangible cultural heritage 3.0 Literature Review According to Ye and Zhou (497), China is the world popular nation relating to intangible cultural heritage. The positive image is due to the efforts of UNESCO efforts on heritage conservation that was initiated on 18 May 2001. The announcement made the Chinese government adjust its efforts in protecting the intangible cultural heritage.

Through the support of the UNESCO conventions, twenty-nine China projects are listed among the anthropogenic intangible cultural heritage. Examples of the heritage listed include Chinese paper cutting, calligraphy, Chinese Dragon Boat Festival, and the pre-modern construction techniques. Liu, in agreement, argues that intangible cultural heritage has placed China on the world map. However, the concept is not well understood by the academicians. As a result, many academicians in China have been conducting studies in the cultural field to address the information gap.

The adoption of the idea by UNESCO in October 2003 through the Convention for the Safeguarding of the Intangible Cultural Heritage has just seen academicians develop the interest in the area. Some of the challenges relating to the field are that the Chinese academic world not to understand well the theories relating to the heritage since the field has no specific comprehensive theoretical framework. The information gap makes the field worth of discussion in the academic context. In agreement, Yu Liu (1334) emphasises the need for translating of the China's cultural aspect.

Even though his focus is to allow the participation of the foreign tourists in the conservation, the translation aspect can also allow further studies in the field. For instance, translation of the Xanadu's history into English will see more scholars engage in the study of the same. However, the translation should be done with care to ensure that meanings about culture are not lost in the process. The context of intangible cultural heritage has seen issues such as superstition to gain value in China.

Read More