保存奇迹
摘要：随着经济全球一体化，在我们的视野中,传统的婚礼舞和诗人的语言逐渐消失，因此保护非物质文化遗产并不容易。教科文组织努力去保护濒危的杰作，同时向全世界展示中国传统的昆曲、日本的能乐、印度舞蹈、来自格鲁吉亚的男子和弦合唱、制作立陶宛木制和金属十字架古老的知识还有几内亚的索索巴拉的传统音乐。在一个新的名录中，联合国教科文组织宣布这些为“杰出的非物质文化遗产”。
关键词：保存； 奇迹； 非物质文化遗产
非物质文化遗产是一个专家所使用的技术术语，而不是巫师或音乐家。它一般是指非物质方面的文化产品——短暂的故事和语言本身，以及对信仰，价值观，以及知识和技能，让文化产生活力的形式。这一遗产可以包括婚礼和葬礼、舞蹈、工匠的技能、口头流传下来的农业知识，甚至可以包括节日和聚会，如坦坦地区的木赛姆牧民大会。你可能在一个博物馆，例如由传统的医生使用植物来发现其踪迹，但更多的是生活，一个人的口头相传。这不是玻璃下的文化！
一、日本的活国宝
学者们早已认识到文化的无形性。在第十八和第十九世纪的语言学家，民俗学家和其他人试图证明世界的口头传统。然而，“非物质文化遗产”是相对较新的。在1950年，日本发起了一个活国宝程序识别的传统艺术大师精湛的技术。类似的方案随后在韩国，菲律宾，泰国，美国和法国开始。非物质文化遗产被视为一项资产或资源得到保护，欣赏，利用和管理——一个可以追溯到明治时代的想法。与此同时，在西方，法学家们认识到知识产权作为一种资产的观念，界定版权和专利的把想法变成物质的形式。但集体，文化创造，仍然是不成文的或无残留的问题，所以在保护的时候依然存在一些问题。
上世纪70年代，联合国教科文组织进行了世界遗产名录的讨论，包括后来出现的自然景观，激发了需要保护五星文化遗产更广泛的思考。随之而来的专家会议，提出了建议和技术的讨论一直持续到他们到达顶峰时，在2001五月，联合国教科文组织总干事松浦晃一郎宣布了19个具有代表性的人类非物质文化遗产。
为什么用了这么长的时间才使这一概念融入国际意识？其中一个原因，这一概念长期遭受了与“文化”有关的模糊问题。“遗产”和“无形”也很难一起进行理解。第二，还有一个问题就是如何称呼这个专业术语？ “非物质文化遗产”这个术语经过多次讨论才最后确定下来。模糊和术语之外，在主体利益与公众意识的全球化发展。
在宏观层面上，如果用对待自然资源的方式对待文化资源，文化资源很容易濒危或者消失。虽然还有6000多语言在这个星球上，但语言学家预测，50%至95%将不会持续到下个世纪。绝大多数是没有任何有形形式的。当一种语言消亡，有一个惊人的损失，代代积累的知识和表达。在微观层面上，许多人不愿意接受一个同质化的全球消费者丧失了祖先的故事，社会的宇宙，和有意义的经历。地方文化者的另一种说法是，“我的世界会变得更大，但我仍然在它的地方。”在不良性的情况下，非物质文化遗产在宗教和种族的冲突演变成为暴力事件时已经引起了全世界的关注。
如何才能最好地理解和响应被联合国教科文组织指定为无形“杰作”的非物质文化遗产，这个问题引发了陪审团考虑和辩论。首先是定义问题。一个舞台表演的一个古老的活动可能有很多有形要素编写的脚本，一个精心制作的服装和神庙剧场。但其实这是一个性能使传统的无形？多久的文化实践才能被称为传统？它是在一个广泛的共享？如果人们改变他们的做法来应对不断变化的情况下，应被视为是传统收藏或作为剥夺衍生物被成功的改编？
在某种程度上，每一种语言都是杰作。如何衡量一种语言对另一值得确定的价值和意义——通过扬声器的数量，它的历史作用，其诗歌的美？
但或许更困难的问题是是否以及如何保护这一遗产的范围。要如何维护消失或脆弱的传统？为了保持传统，它是要保护的人的实践能力。我们可以像传统的外观或声音，但其持续的实践会谴责人们对低工资和恶劣的条件下劳动。
使用的策略也引发争论。在某些情况下，非物质文化遗产可以被看作是一个国家的财富得到政府的支持，税收优惠或补贴。
二、潜在的危险
这可以是积极的，但它也可以把一个实际控制的社会是一个由官僚机构控制。在其他情况下，礼仪庆典可以看作是一个在开发的资产促使商业投资。这可能带来的资金支持，但它也可能破坏传统的意义，把它变成为游客举办的活动。对非物质文化资源的价值非常认同可以引发或加剧冲突——在社会上的传统控制战斗的人，从外部影响内部人。更重要的是，有什么是被保留的问题——这是传统本身作为产品（例如，歌曲），它是传统文献记录（记录），或人（歌手）和过程（歌唱）？
最后，有一个问题是谁来决定。属于联合国教科文组织国家必须指定这些文化传统作为珍品。众多的提名可以提出有最好的意图，但有些可能反映了权力集团的狭隘利益。一些少数民族的传统可能会被忽略，甚至审查的考虑。鉴于许多民间的传统是国家统治形式的抵抗，全国提名的想法可能是错误的。
我必须要说，联合国教科文组织第一次认定的19个“非物质文化遗产”给我留下了深刻的印象。 人们可以放心，在全球化时代，地方文化生存，甚至繁荣。一个希望在不断创新的时代，传统有一些持久的价值。所选的传统及其从业人员的力量和韧性是显而易见的。人们只能希望，地方，国家，和现在的国际行动计划，他们将继续激励后人。
外文文献出处：UNESCO Courier: MAS Ultra - School Edition，2001:54-58
附：外文文献原文
PRESERVING THE MAGIC
Karin, Richard, UNESCO Courier
Abstract：We can be swept away by a traditional wedding dance or entranced by the poets of a vanishing language-but defining this intangible cultural heritage is far from simple, as UNESCOS efforts to safeguard endangered masterpieces go to show traditional Kumquat opera of China, Novak theater of Japan, Kutiyattam dance in India，men polyphonic choral singing from Georgia, the ancient knowledge of crafting Lithuanian wooden and metal crosses, the Niagassola So-so Baal musical tradition of Guinea. In a new program, UNESCO proclaimed these, among others, 'masterpieces of intangible cultural heritage.'
Key words：preserve; magic; Intangible cultural heritage
Intangible cultural heritage is a technical term used by experts, not by shamans or musicians. It generally refers to immaterial aspects of culture--ephemeral products like stories and language itself, as well as to the beliefs, values, and forms of knowledge and skill that give cultures their vitality. This heritage can, for example, include wedding dances and funeral laments, artisans skills and orally conveyed knowledge of farming. It can even include festivals and spaces where people gather, such as the wondrous Drama el-Fan square in Marrakech. You might find its traces in a museum--plants used by a traditional healer, for example--but it is mostly the living, oral tradition of a people. It is not culture under glass!
Japanrsquo;s living national treasures
Scholars have long recognized the intangibility of culture. In the 18th and 19th centuries philologists, folklorists and others tried to document the worlds oral traditions. Yet the term 'intangible cultural heritage' is relatively recent. In 1950, Japan initiated a living national treasures program to recognize the great skills of masters of the traditional arts. Similar programs began in Korea, the Philippines, Thailand, the United States and France. Intangible heritage was seen as an asset or resource to be protected, appreciated, utilized and managed--an idea traceable back to the Meiji period. In the West, meanwhile, jurists recognized the idea of intellectual property as an asset, defining copyright and patent as putting an idea into material form. But collective, cultural creation that was unwritten or unrecorded remained problematic--it still does.
In the 1970s, discussion of UNESCOS World Heritage List, which later came to include natural landscapes, stimulated broader thinking about the need to safeguard intangible cultural heritage. Meetings of experts ensued, recommendations were developed and the technical discussions continued until they reached a pinnacle in May 2001, when UNESCOS Director-General Coacher Matsuura proclaimed the first 19 Masterpieces of the Oral and Intangible Heritage of Humanity.
Why so long for this concept to make it into international consciousness? Well, for one, it has suffered the problem of vagueness long associated with the term 'culture.' 'Heritage' and 'intangible' just compound the difficulty. Second, theres a terminology problem--what to call it? It is hard to imagine the term 'intangible cultural heritage' sliding off the tongue of any laureates. Vagueness and terminology aside, interest in the subject has grown with public awareness of globalization.
On the macro-level, cultural resources, in a similar way t
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附：朱慕华 外文文献原文
PRESERVING THE MAGIC
Karin, Richard, UNESCO Courier
Abstract：We can be swept away by a traditional wedding dance or entranced by the poets of a vanishing language-but defining this intangible cultural heritage is far from simple, as UNESCOS efforts to safeguard endangered masterpieces go to show traditional Kumquat opera of China, Novak theater of Japan, Kutiyattam dance in India，men polyphonic choral singing from Georgia, the ancient knowledge of crafting Lithuanian wooden and metal crosses, the Niagassola So-so Baal musical tradition of Guinea. In a new program, UNESCO proclaimed these, among others, 'masterpieces of intangible cultural heritage.'
Key words：preserve; magic; Intangible cultural heritage
Intangible cultural heritage is a technical term used by experts, not by shamans or musicians. It generally refers to immaterial aspects of culture--ephemeral products like stories and language itself, as well as to the beliefs, values, and forms of knowledge and skill that give cultures their vitality. This heritage can, for example, include wedding dances and funeral laments, artisans skills and orally conveyed knowledge of farming. It can even include festivals and spaces where people gather, such as the wondrous Drama el-Fan square in Marrakech. You might find its traces in a museum--plants used by a traditional healer, for example--but it is mostly the living, oral tradition of a people. It is not culture under glass!
Japanrsquo;s living national treasures
Scholars have long recognized the intangibility of culture. In the 18th and 19th centuries philologists, folklorists and others tried to document the worlds oral traditions. Yet the term 'intangible cultural heritage' is relatively recent. In 1950, Japan initiated a living national treasures program to recognize the great skills of masters of the traditional arts. Similar programs began in Korea, the Philippines, Thailand, the United States and France. Intangible heritage was seen as an asset or resource to be protected, appreciated, utilized and managed--an idea traceable back to the Meiji period. In the West, meanwhile, jurists recognized the idea of intellectual property as an asset, defining copyright and patent as putting an idea into material form. But collective, cultural creation that was unwritten or unrecorded remained problematic--it still does.
In the 1970s, discussion of UNESCOS World Heritage List, which later came to include natural landscapes, stimulated broader thinking about the need to safeguard intangible cultural heritage. Meetings of experts ensued, recommendations were developed and the technical discussions continued until they reached a pinnacle in May 2001, when UNESCOS Director-General Coacher Matsuura proclaimed the first 19 Masterpieces of the Oral and Intangible Heritage of Humanity.
Why so long for this concept to make it into international consciousness? Well, for one, it has suffered the problem of vagueness long associated with the term 'culture.' 'Heritage' and 'intangible' just compound the difficulty. Second, theres a terminology problem--what to call it? It is hard to imagine the term 'intangible cultural heritage' sliding off the tongue of any laureates. Vagueness and terminology aside, interest in the subject has grown with public awareness of globalization.
On the macro-level, cultural resources, in a similar way to natural resources, seem to be endangered or disappearing. Of more than 6,000 languages still spoken on the planet, linguists predict that 50 to 95 percent will not last through the next century. The great majority is not written and lacks any tangible form. When a language dies, there is a startling loss of knowledge and expression accumulated over generations. On the micro-level, many people do not want to accept a social universe of homogenized global consumers bereft of ancestors, stories, and meaningful experiences. Local cultural reassertion is a way of saying, 'my world may have become bigger, but I still have a place within it.' In less benign circumstances, intangible cultural heritage has captured the worlds attention when conflict over the practice of religions and the expression of ethnicities has turned violent.
Questions of how best to understand and respond to intangible cultural heritage sparked debate among the jury considering nominations for the UNESCOs designation as intangible 'masterpieces.' First, there is the question of definition. A staged performance of an ancient play may have many tangible elements-written scripts, a temple theatre and elaborately crafted costumes. Yet does the fact that it is a performance render the tradition intangible? How long does the cultural practice have to be around before it is called tradition? Does it have to be widely shared among a people? If people alter their practice to respond to changing circumstances, should the tradition be seen as a successful adaptation to be treasured or as a deprived derivative to be shunned?
As hard as it may be to define this heritage, the question of its value looms larger. To some extent, every language is a masterpiece. How to weigh the worth of one language against another in determining value and significance--by the number of speakers, its role in history, the beauty of its poetry?
But perhaps more difficult is the question of if and how to preserve the wide range of this heritage. Is it more important to safeguard vanishing or fragile traditions than popular, vital ones? To preserve the tradition, it is necessary to preserve the ability of people to practice it. We might like the look or sound of the tradition, but its continued practice would condemn people to labor with low pay and terrible conditions.
The strategies used also spark debate. In some cases, intangible cultural heritage may be vi
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