literally as “maintainers,” but the term by which they are known in Korean colloquial speech (in’gan munhwaje) literally means “human cultural heritage” and is usually translated into English as “Living Human Treasurers.”
The institution of this system in the 1960s constituted a landmark in the development of the concept of intangible cultural heritage in the Republic of Korea. To many Korean people,“cultural heritage” generally meant the buildings and other fixed and visible constructions of earlier eras, generally recognized for their outstanding artistry, and which ought to be prerved. According to that way of thinking, intangible cultural heritage lacked the durability of constructions and was always changing, which made it difficult to include along with fixed objects in the concept of cultural heritage.
Moreover, among the items designated as intangible cultural heritage, Korea’s unique folklore compris the majority. Most people regarded folklore to be very inferior to the high arts of the elite strata, considered it somewhat childish and backward, and thought it wasn’t worth prerving. Becau it was en as a hindrance to development, many people advocated its destruction rather than its prervation. In conquence, no one intended to learn folk arts, and their disappearance emed an inevitable cultural development. And becau folklore was cloly connected with the life of the past, it too would disappear with that way of life being obliterated by the process of urbaniza
tion, industrialization, and modernization. Given the circumstances, I believe that many folk artistic performances would have disappeared if a system of intangible cultural heritage prervation and other policies had not been implemented to prerve them.
The Cultural Heritage Protection Act pasd by the Republic of Korea’s government in 1962 constituted the legal basis of its cultural protection program. In this program, the designation of individual items of cultural heritage involves veral steps. If an autonomous local group submits an application, specialists in that topic are asked to conduct fieldwork and prepare a designation report. The Culture Heritage Committee of the national Ministry of Culture considers this report and judges whether the propod item has significant historical, academic, and artistic value, and whether it notably express local color. If the report indicates that it does, the Committee designates it as an important item of cultural heritage. In addition, for the sake of continuing the transmission of the item, it gauges the functional and artistic value of its original form, and recognizes the person who has best maintained the as the heritage item’s Living Human Treasure, who is then required to continue the performance or manufacture of the item.
Another feature of the Republic of Korea’s intangible cultural heritage system is that rather than regard the designation of items of heritage as its only goal, it also considers providing a system for c
ontinuing the transmission of the item. This transmission system is highly refined and structured. Tho who are recognized as the Living Human Treasures of intangible cultural heritage are required to train younger persons in the techniques of their art. So that the younger persons can receive that special training at no charge, the Republic of Korean government gives the Living Human Treasurers an additional one-hundred thousand wo˘n (about 1080 U.S. dollars) a month, free medical treatment, and other special privileges. The public privileges help to elevate the prestige of the Living Human Treasures. In Korea’s past, artists
were looked upon with contempt rather than esteem. However, the cultural heritage system now gives the performers not only economic compensation but also greater prestige and individual lf-respect.
正常的反义词Training for the transmission of an item of cultural heritage consists of three stages:
1.Initiates’ Education. Living Human Treasures ek out initiates and give them initial
training. Upon recommendation from a Living Human Treasure or a Living Human Treasure Group, the best trainees are lected for scholarships. Tho lected receive a fixed scholarship amount from the government.
2.Advanced Trainees’ Education. Tho who have received the initiate-level training are
examined by the Living Human Treasure or Treasures in the appropriate field. The initiates who are judged to have attained a high level of functional or artistic skill are lected as advanced trainees.
3.Assistant Instructor of Initiates. The advanced students who have outstanding ability
我想对你说的话assist the Living Human Treasure by training the initiates and other advanced students.
The Assistant Instructors also receive a fixed stipend from the government.
Ultimately, the successor’s system provides for six levels: Initiates, Advanced Students, Assistant Instructors, Living Human Treasure Candidates (tho who will succeed the current Living HumanTreasures), Living Human Treasures, and honorary Living Human Treasures. This last category is comprid of former Living HumanTreasures who resigned becau they suffered from debilitating illness or old age and were unable to be in charge of training successors. Designating them as Honorary Living Human Treasures is designed to maintain their dignity.
By December 2006, 110 items had been lected as items of intangible cultural heritage and 255 persons had been designated as Living Human Treasures. There were 304 Assistant Instructors, 2,
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740 Advanced Trainees, and 102 Initiates who receive scholarships.
The Living Human Treasures, both individuals and members of groupes, give one public performance a year to maintain and show that they are transmitting their accomplishments. In addition to this, the government also assists their transmission activities by constructing places for this purpo. By constructing the transmission places in the appropriate regions of the intangible cultural heritage, the transmission of that region’s culture is attained. Of cour, recordings are made as well. Visual and sound recordings as well as written descriptions are all made and permanently prerved.
Through such efforts over the past 45 years, intangible cultural heritage that would otherwi have disappeared have been prerved and transmitted. In a public opinion poll conducted in 1999, 79% of citizens of the Republic of Korea responded that the Living Human Treasure system had contributed to the prervation of the nation’s intangible cultural heritage.
No system, however, is perfect. After 45 years of accumulated experience with the prervation of intangible cultural heritage, new issues have started to ari. Here are just three of them.
First of all, some ask whether it is necessary to artificially prerve culture, especially intangible cultu
re. Culture is like flowing water and is constantly changing. Change is only natural. It ought to be recognized that the disappearance of a culture is natural when its
functions are no longer needed. In place of the past culture that is disappearing, new culture is created. Thus, many people challenge the necessity of artificially prerving culture that is vanishing.
Tho who advocate the artificial protection and prervation of intangible cultural heritage, however, offer a different logic. Their position is that generally much of the traditional culture that is disappearing from many societies often symbolically reprents a people, their ethnic identity, and their state government. Non-western societies emphasize this point most strongly. Of cour there are many cas of old cultures disappearing in western nations too. The situations of western and non-Western nations, however, are different. Among the people of western countries, disappearing culture may also be regarded as their own but newly created modern culture is too is regarded as their own. Among the people of non-Western societies, however, the disappearing culture is regarded as their own, but the newly introduced culture is usually of foreign-and specifically Western-origins. A good example of this is traditional music. In Korea, one of the older forms of music is p’ansori, a kind of epic singing. In the 1960s, many people looked to the west and began to like Western music, such as opera and pop songs. Whereas there were few occasions when p’ansor
i singers were asked to perform, and this specialty became a hindrance to earning a livelihood, Korean singers of western music and their audiences rapidly incread in number. Without the Intangible Cultural Heritage policies of the government of the Republic of Korea, perhaps p’ansori would have disappeared. Today, even though many citizens still enjoy Western music more than p’ansori, they continue to regard the latter as Korean music and such genres as opera and pop song as Western music. Therefore, it is argued that much of the intangible cultural heritage has played an important role in prerving a group’s unique cultural identity
Secondly, unlike items of tangible cultural heritage, items of intangible cultural heritage cannot usually be traced to a specific historical era. Instead, they constitute a heritage that lives through the continual posssion and expression of a particular group. Therefore, continual change is one of their characteristics. But if an item of cultural heritage is to be prerved, it is difficult to decide which form of it should be designated for prervation. One group of scholars has expresd the view that the item’s form at the time of designation should be faithfully maintained and prerved. They contend that becau it has to have a traditional form, it has to keep the form it had at the time of designation as much as possible.
澳洲移民专业
飞行员报考条件This who oppo this view, however, put forth the criticism that not recognizing change is tantamount
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to petrifying intangible cultural heritage, or, like a taxidermist, making its items into stuffed animals. Changing social conditions related to an item of intangible cultural heritage should be evident in its public performance, they contend, and that public interest in the petrified form of an item of intangible cultural heritage will vanish becau today’s audiences do not maintain the same tastes of tho of the past.
In the ca of many folk arts, such as the masked-dance dramas, the masks that were worn by the performers sarcastically criticized the ruling class, and the drama was expresd through dances and speech. This kind of folk drama quickly lost its popular appeal and was faced with the threat of extinction. In the 1960s, the dramas were designated as items of cultural heritage. The persons best able to perform them were designated Living Human Treasures in order that800小说网
they could train others. The Living Human Treasures faithfully re-performed and trained others in the dances and texts of the designated forms of the dramas. Among the young people (especially college students) who received instruction and learned the masked-dance dramas, however, some maintained that the texts were too oriented toward the past and didn’t appeal to modern youth. In order to make the dramas appealing to modern people, rather than satirize the ruling class of former times, they advocated criticizing current politicians and the wealthy heads of giant conglomer
ates. And instead of using the texts filled with archaic vocabulary, which was difficult for youth to understand, they argued, texts that ud modern language should be substituted and transmitted.
As for tho who wanted the forms of intangible cultural heritage to be transmitted in the form in which it was officially designated, however, their logic was that just as an item of tangible cultural heritage is displayed in a muum as the product of a single era but future generations derive inspiration from it, so too can an item of intangible cultural heritage be recognized as the product of a past era but influence future recreations. If we recognize change and transmit the changed form, the old form will disappear, they argued. On university campus during the 1970s and 1980s, in fact, the old forms of masked-dance dramas became models for the dramas of the anti-establishment People’s (Minjung) Culture Movement, and farmer’s band music (nongak), another category of intangible cultural heritage, became a model for the development of samulnori music that became very popular among modern youth.
As a result, opinions vary between scholars, groups, and individuals as to whether the old forms of intangible cultural heritage should be maintained and performed without allowing any changes, whether changes should be permitted, and to what degree changes should be permitted.
A third challenging issue aris from various breakdowns in the categorization of individual items of intangible cultural heritage. The items exist in various forms. Similar variations differ regionally, and each performer transmits his or her own version. If one of the diver versions is designated as part of the nationally designated cultural heritage and its most artistic performer declared a Living Human Treasure, there is a high probability that the designated version will be transmitted to the exclusion of other regional and individual variants. This is becau national recognition of an item or a performer confers cultural authority. If the youth intend to learn the designated item, inheritors of the other versions will become scarce and the variant extinct. If there is an intention is to prerve greater diversity among the folk arts, consideration ought to be given to a method for transcending the relationship between designated and undesignated as well as perpetuating diversity.
西方性文化Of cour, there are many other challenges to the prervation of intangible cultural heritage and the continuation of its transmission. The experiences of protecting the intangible heritage that was disappearing more than 45 years ago and implementing the system of Living Human Treasures described above have brought many accomplishments. The intangible cultural protection policies that have been in effect for more than 45 years, however, have generated the new challenges, also described above, which we are now confronting.
Also, other challenges comes from UNESCO’s “Convention for the Safeguarding of the Intangible Cultural Heritage.” At the 32nd General Conference of UNESCO held from September 29 to October 17, 2003, the Convention was adopted by a majority vote of the State
