Yan Yongshu’s speech at the textile and clothing intangible cultural heritage “mass entrepreneurship and innovation” exchange seminar
·This article is compiled based on the on-site speech of Yan Yongshu, Director of the Intangible Cultural Heritage Division of the Guangdong Provincial Department of Culture and Tourism
I have come twice to exchange seminars on intangible cultural heritage, and I hope I will come again next year. This time, I think it is even better than the last time. The first thing is that the invitees this time include governments, designers, social organizations, industries and research institutes. This time it is a multi-platform dialogue. This is very good. I want to thank you. Provincial Fashion Association, thank them for setting up this platform, and also thank Mr. Ji Wenbo, vice chairman of China Fashion Designers Association, for his personal guidance. Secondly, I found that the designers participating this time showed four “superiorities” and became younger and younger. , there are more and more new faces, more and more beautiful, and more and more intangible cultural heritage.
What I want to talk about today is eight words, “Fashionable Bay Area·Intangible Cultural Heritage New Creation”. I want to talk about six aspects:
First, what is intangible cultural heritage? Intangible cultural heritage inherits skills and memory, which is a concept.
Second, what is new creation? The word “new” comes from animation, and the “new” of non-heritage new creation should include five aspects:
The new group of people must face young people, and young people must become the core target group of intangible cultural heritage;
The new model must be for all intangible cultural heritage practitioners and intangible cultural heritage inheritors to make their own affairs a matter for the world. This is a new model;
New values inherit the excellent traditional Chinese culture and convey the new contemporary values. Here I would like to add a topic. When our General Secretary Xi talks about cultural self-confidence, he always talks about three dimensions. The first is cultural relics, which are proof of excellent traditional culture. The second is ancient books, which are records of China. The third carrier of civilization is intangible cultural heritage, which inherits and transmits China’s excellent traditional culture and highlights the inheritance and transmission of contemporary values;
The new aesthetic must present traditional beauty in a new way in the new era;
For new links, we must have new ideas, new communication platforms, new communication channels, new communication methods and new communication objects.
Third, what is intangible cultural heritage design? Four “haves” are needed: the first has warmth, and all designs must have warmth; the second has to have a story, the third has to be creative, and the fourth is design, which combines these four “haves” Thetalents are the intangible cultural heritage designers we need.
Fourth, based on the questions just raised by the guests, what role does the government play in intangible cultural heritage? In other words, what work does the government need to do? The first is to strengthen the protection and cultivation of people, including inheritors and practitioners. It is necessary to cultivate professional intangible cultural heritage talents, build a development platform for professional talents, and improve the development space for professional talents and intangible cultural heritage talents; the second It is the guarantee for improving the law. The law includes systems and measures. The guarantee of this law requires a series of institutional guarantees from people to things. Our intangible cultural heritage has two protections, one to protect the inheritors of the intangible cultural heritage and the other to protect the objects; thirdly, The first is to protect industrial development, which can be interpreted from two aspects: first, to attract more social resources to participate in the protection of intangible cultural heritage; second, to encourage and stimulate traditional intangible cultural heritageindustrial clustersUpgrade; the fourth is to convey the essence of Chinese culture in the process of communication.
Fifth, what is living inheritance? I changed one word, “living inheritance”, it is called “living” instead of “activation”. “Activation” comes from Hong Kong. Revitalization is to bring the dead to life, but our intangible cultural heritage itself is alive, so how can it be revitalized? It has always lived in the hearts of ordinary people. What is aliveness? It is to be inherited in the process of production and development, and to be developed and inherited in the production and life of the people. Just as Teacher Lin Qi said just now, “Buying is the best protection, and use is the best inheritance.” Our The concept of intangible cultural heritage is to see things, see people, and see life. What is life? Living inheritance, one is the ecological environment. Intangible cultural heritage must have an environment to survive and grow. Only a pool of spring water can raise live fish. While we focus on the protection of individual projects, the government must also protect the ecological environment. Another thing is that the intangible cultural heritage itself was produced in a specific environment. Xiangyunsha cannot do without the environment and the river there. No matter how far it goes, it still needs to return to a suitable environment to survive.
Sixth, what is cross-border cooperation? Crossing boundaries means crossing concepts and breaking stereotypes. I think the government can hold two hands, one holding the inheritors and the other hand holding the designers. Together, we can explore the possibility of integrating intangible cultural heritage into life and create fashionable works with a Chinese flavor. Life is nothing more than food, clothing, housing and transportation. “Clothes”, as teacher Ji Wenbo just said, not only have the function of keeping warm, but also need to convey value and reflect the spiritual outlook. “Wearing” is a big question. What to wear, when to wear it, where to wear it, who to wear it, and for whom to wear it all need to adapt to the times, the occasion, and match your personal temperament. Therefore, when it comes to dressing, we need to have so many different styles. Same design, so many different elements.
Finally, I would like to call on Chinese contemporary designers to strive for excellence in China.Traditional culture seeks strength, and I sincerely hope that intangible cultural heritage will always become a gas station for Chinese design!
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