口头和非物质文化遗产

施爱东

口头和非物质文化遗产
   
    “口头和非物质遗产”这一概念是教科文组织在广泛征询专家意见的基础上提出的。非物质遗产系指在历史、艺术、人种学、社会学、人类学、语言学或文学方面具有特殊价值的传统和民间文化表现形式，其最新的定义为：“人们学习的过程及在学习过程中被告知和自创的知识、技术和创造力，还有他们在这一过程中创造的产品以及他们持续发展所必需的资源、空间和其他社会及自然构造；这些过程给现存的社区提供了一种与先辈们相连续的感觉，对文化认定很重要，对人类文化多样性和创造性保护也有着重要意义。”

    教科文组织每两年宣布一次“代表作”，一个国家每次一般确认一个项目。“代表作”主要奖励两种非物质文化遗产表现形式：１．一种定期发生的文化表现形式，如音乐或戏剧表演，宗教仪式或各类节庆仪式；２．一个文化空间，定义为一个集中举行流行和传统文化活动的场所，也可定义为一段通常定期举行特定活动的时间。这一时间和自然空间是因空间中传统文化表现形式的存在而存在的。评选的标准主要有两个，其一为具有杰出的文化代表性，对有关群体和文化多样性具有特殊价值；其二为需要保护的紧迫性，特别是因面临社会变革等因素缺乏保护而将消失的文化艺术形式。

    2000年，联合国口头和非物质遗产抢救保护工作启动。去年5月，联合国教科文组织公布了首批入选的19项口头和非物质文化遗产代表作名录，我国的昆曲艺术名列其中。
   古琴艺术被定为2003年我国候选项目，我国民间的剪纸艺术、藏族热贡艺术、川剧艺术和南京云锦木机妆花的手工织造工艺也列入了2003年申报预备清单。中国的非物质文化遗产极为丰富，这些丰富的文化遗产包括各类戏曲和相关的面具、道具、服饰制作工艺；民族、民间舞蹈、节日舞蹈、祭祀舞蹈、礼仪；民族、民间音乐的演奏以及乐器制作工艺；各种民间美术、传统工艺、手工艺，如织染、刺绣、雕刻、陶艺、剪纸、年画等等。


     但是，一项文化艺术入选口头和非物质文化遗产名录，需要一个严格复杂漫长的过程。按照联合国规定，口头和非物质遗产名录每两年公布一批，每一个成员国每次只能正式申报一个项目。因此，在专家看来，这对我国大量的非物质文化遗产的抢救保护，是“远水解不了近渴”。

     列入联合国教科文组织“会员国2002—2003周年纪念名单”的我国著名史诗《格萨尔王》千年纪念活动眼下正在西藏、内蒙古、青海、四川等史诗主要流传地区陆续开展。但是，这部被誉为“东方的荷马史诗”的藏族史诗，目前却面临乏人传唱的困境。曾经唱过完整《格萨尔王》的西藏说唱老人札巴已经仙逝，其生前只应邀录音整理了20部《格萨尔王》，余下的这一个艺人的40多部精彩的说唱故事，必将随着这一个艺人的去世而消亡。

[ 本帖由 施爱东 于 2002-12-24 10:06 最后编辑 ]

施爱东

今年表示要申报的有：梁祝文化，满族“说部”，福建南音，云南泸沽湖口传文学、汉剧、越剧、广东粤剧和音乐

梦回稻城

请施大侠告知资料来源。

施爱东

文化部学习材料《关于“人类口述和非物质遗产代表作”》

淇园之竹

施爱东 于 2002-12-24 09:59 写道：
列入联合国教科文组织“会员国2002—2003周年纪念名单”的我国著名史诗《格萨尔王》千年纪念活动眼下正在西藏、内蒙古、青海、四川等史诗主要流传地区陆续开展。但是，这部被誉为“东方的荷马史诗”的藏族史诗，目前却面临乏人传唱的困境。曾经唱过完整《格萨尔王》的西藏说唱老人札巴已经仙逝，其生前只应邀录音整理了20部《格萨尔王》，余下的这一个艺人的40多部精彩的说唱故事，必将随着这一个艺人的去世而消亡

无可奈何花落去……
似曾相识燕归来

[ 本帖由 淇园之竹 于 2003-1-23 21:22 最后编辑 ]

Sylvie

一点想法：我们先仔细看看《首批世界非物质文化遗产名录》，这样才能厘清一些基本概念。民俗学者应该多从学理上讨论什么是口头／非物质／无形文化，什么是“遗产”？只有深化认识，才有助于烛照出目前比较混乱的申报盲区。
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首批世界非物质文化遗产名录

资料来源：http://www.china-fpa.org/intangible/index.htm

杰莱德口头传统--贝宁（尼日利亚和多哥支持）

100年来，纽鲁巴人、冯族、玛西族熟谙以传统习俗和舞蹈欢庆丰收，即使大旱之年或疾疫横行。纽鲁巴人歌颂他们的典礼、个性鲜明的面具，追溯历史和独有的神话。人们被分成几个部落，由一个男人或一个女人统领。晚上举行的面具舞会上只有女人可以表演节目，音乐伴奏下的歌者、舞者戴着具有讽刺意味的面具，模仿着人们种种举止。
杰莱德的神秘起源反映了从母系社会到族长制社会的转变过程。目的是安抚祖先的神灵和神话中母亲的愤怒。力量的象征--蛇或"母亲"的使者--鸟，通常被视作动物的代表。
威胁：技术发展和旅游开发危害着杰莱德的未来。
保护计划：提议建立一个专供表演与培训手工艺者和学生的社区中心。编辑一个包括杰莱德最好的氏族、面具、工艺品的完整目录。制作视听材料。修订遗产法。国内外的节日活动中出售手工艺品。
The Oral Heritage of Gelede--Benin (supported by Nigeria and Togo)
For 100 years, the Yoruba-nago, Fon and Mahi communities have practiced their rites and dances after the harvest, as well as during droughts and epidemics. The ritual, featuring carved masks, is sung in Yoruba, recalling the history and myths of the Yoruba-nago people. The community is divided into groups which could be led by a man or a woman - the only mask society where women can play that role. Singers accompanied by a drum perform in this night-time ceremony, followed by dancers accompanied by an orchestra. Satirical masks mock certain types of behaviour.
The mythical origin of the Gelede is said to reflect the transformation from a matriarchal society into a patriarchal society. It aims to pacify the anger of the mythical mothers and the spirits of the ancestors. Animal figures are often used -- the snake, symbol of power, or the bird, messenger of the "mothers."
Threats: Technological development and tourism jeopardize the future of the Gelede.
Action plan: Proposals include the creation of community centres for performances and training of craftspeople and students. An inventory of the best Gelede groups, masks and craftspeople is being compiled. Audio-visual material is needed. Heritage laws are being revised. National and international festivals are planned and craftwork will be sold.



萨培拉人的口头遗产与文化现象--厄瓜多尔和秘鲁

萨培拉人居住在这个地球上以物种多样化著称的亚马逊河流域。他们通过语言、宗教仪式、神话、艺术，甚至传统医药表达和雨林的密切关系，这对全球意义非凡。尽管经过四个世纪的殖民统治、基督教的强制推行、被迫的劳作、疾病、战争、迫在眉睫的森林滥采滥伐，萨培拉人都没有停止为保护祖先传统和雨林生活的奋斗。在被西班牙占领之前，39个种族，这一文化遗产的承载者使之代代相传。
威胁：据估计，萨培拉人口还不到300人，只有5人可以流利地使用这种语言。其中200人居住在厄瓜多尔，100人居住在秘鲁。
保护计划：厄瓜多尔和秘鲁决定让萨培拉语言得以重生，保护其文化遗产，研究并保护原始宗教和传统医药，巩固萨培拉社区，并鼓励厄瓜多尔和秘鲁的萨培拉人增进交流。
The Oral Heritage and Cultural Manifestations of the Zápara People--Ecuador and Peru
The Zápara people of the Amazon rainforest are inhabitants of one of the most bio-diverse areas of the world. Their intimate knowledge of the rainforest is of global significance and is expressed through their language, rituals, mythology and arts, as well as traditional medicine. Despite the adverse impacts of conquest, forced conversion to Christianity, enforced labour, disease, as well as wars and impending deforestation, over the past four centuries, the Zápara have fought to preserve their ancestral knowledge and way of life in the rainforest. As the surviving bearers of a cultural heritage that included some 39 other populations before the Spanish conquest, it is of crucial importance that they are able to transmit this heritage to future generations.
Threats: The Zápara population is estimated at less than 300 people, with only five fluent in the language. An estimated 200 Zápara live in Ecuador, and 100 in Peru.
Action plan: Ecuador and Peru propose to revitalize the language, protect the cultural heritage, study and preserve shamanism and traditional medicine, strengthen the Zápara communities and encourage connections between the Záparas of Ecuador and Peru.

格鲁吉亚复调唱法--格鲁吉亚

查克路罗一种以暗喻和多种音乐组成的复调歌曲，多在节日上演唱。两位男声独唱演员和男声合唱团需要极熟练地掌握歌唱技巧。查克路罗起源于公元8世纪早期这个地区的葡萄酒祭仪和葡萄文化。复调唱法则大约产生于12至14世纪格鲁吉亚文艺复兴时期。
威胁：查克路罗正受到农村迁徙和工业化的威胁，以及西方音乐的影响。
保护计划：重新灌制老唱片，制作录像带，建立资料库和保护系统，记录上年纪的歌唱家的歌唱技巧，收集有关葡萄酒文化的仪式。格鲁吉亚民间歌曲国际中心正在筹备音乐节和民间音乐会。
Georgian Polyphonic Singing--Georgia
Chakrulo is a polyphonic song using metaphors and complex musical ornamentation. Popular at festivals, it requires great mastery from its two male soloists and male chorus. The origin of Chakrulo is linked to the cult of wine and the culture of grapes, which developed as early as the 8th century A.D. in the region. The polyphonic singing probably originated in the 12th through 14th centuries, at the time of the Georgian Renaissance.
Threats: The practice of Chakrulo is jeopardized by rural exodus, industrialization and the influence of Western-style music.
Action plan: Old recordings will be remastered and video recordings will be produced. Storage and preservation of the materials will be organized. Recording the techniques of ageing singers and rituals linked with wine are also proposed. The International Centre of Georgian Folk Songs is planning a festival and concerts of folk music.

塞梅斯基口头文化--俄罗斯联邦

塞梅斯基是俄罗斯一个古老的信徒团体，他们居住在与世隔绝的特兰斯贝卡尔地区的村子里。他们的生活方式反映了16至17世纪俄罗斯民俗文化，如传统的建筑、服饰、礼仪、音乐、典礼、箴言、谚语及宗教信仰。
他们一直根深蒂固地保留着中世纪沿袭下来的传统，并波及到了乌克兰。塞梅斯基最为人称道的是其独特的合唱乐队，这是一种产生于17世纪的古老的俄罗斯教会音乐。1935以来，数支熟练掌握这种音乐的乡村唱诗班相继建立起来。
威胁：今天，塞梅斯基的传统习俗正面临消失的威胁。主要因为数十年来该地区的政治、社会、经济与文化的变革严重破坏着他们的生活方式。
保护计划：俄罗斯国家杜马正在筹备一个十年计划，包括普查记录塞梅斯基传统文化，召开研讨会。同时相关的节日、古老的木结构建筑博物馆、实用艺术都在计划之中。
The Cultural Space and Oral Culture of the Semeiskie--Russian Federation
The Semeiskie are a community of Russian Old Believers (Starovery), living in villages in the isolated Transbaikal Region. Their way of life reflects 16th and 17th century Russian folk culture, with traditionally built houses, costumes, ceremonies, music, rituals, proverbs, idioms and religious beliefs.
They have preserved their traditions which are deeply rooted in the history of medieval Russia, Belarus hands Ukraine. The Semeiskie are best known for their unique choral music, a form of old Russian church music dating from before the 17th century. Since 1935, several village choirs skilled in this music have been created.
Threats: The Semeiskie traditions are threatened with disappearance today. Principal reasons for this are the political, sociological, economical and cultural transformations taking place in the region which during several decades have undermined their traditional way of life.
Action plan: A 10-year action plan prepared by the State House of the Russian Federation includes research and documentation of the traditional culture of Semeiskie, and scientific conferences. Festivals, and a museum of the historical wooden architecture and applied arts, are also planned.

加利弗那语言、舞蹈和音乐--伯利兹城（洪都拉斯和尼加拉瓜支持）

加利弗那人的祖先来自非洲，17世纪时因反抗英法殖民者的统治而被流放到圣文森特（西印度群岛）。现在加利弗那人散居在洪都拉斯的港口城市--伯利兹城、危地马拉和尼加拉瓜。据估计现有的11500人分为10个社区住在大西洋沿岸，他们仍保持着自己的传统语言，即含有圣文森特原住民语言特点和非洲语言特点的"黑加勒比语"。音乐和舞蹈在加利弗那社区交流中起着重要的作用。传统的乐器包括鼓、沙球、吉他和海龟壳，用于宗教典礼和日常生活。
威胁：加利弗那作为一种母语，却只在伯利兹一个小村里教授。而且这种语言没有任何文献记录。由于经济不繁荣、都市化、歧视性的土地法规以及学校对语言文化的不重视，幸存下来的加利弗那语受到很大的威胁。另外，也有移民潮、种族歧视、缺乏政府和财政支持的因素存在。
保护计划：1977年颁布了加利弗那民族语言政策，伯利兹、洪都拉斯、尼加拉瓜和危地马拉三国政府联合保护该语言和文化。此政策致力于记录并发展加利弗那语。加利弗那行动计划的目的是：通过土地、教育、语言文化、健康和其他社会事务等相关活动，寻求对该民族的关注，并支持其社会和经济发展。
The Garifuna Language, Dance and Music--Belize (supported by Honduras and Nicaragua)
The traditions of the Garifuna people originated from descendants of African slaves rescued from Saint Vincent where they were exiled in the 17th century for fighting English and French domination. Communities in Belize, and on the coasts of Honduras, Guatemala and Nicaragua share a unique Garifuna culture. An estimated population of 11,500 live in 10 communities on the Atlantic coast and continue to speak the language - black Carib, which blends elements of the language spoken by the former inhabitants of Saint Vincent with African elements. Music and dance are central and vibrant aspects of the Garifuna communities. Traditional instruments including drums, maracas, guitars and turtle shells are used for religious and secular occasions.
Threats: Garifuna as a mother tongue is only taught in one Belizean village. Virtually no documentation of the language exists. The survival of the Garifuna culture is threatened by the lack of economic prospects, urbanization, discriminatory land measures, and the school system's failure to acknowledge the language and culture. Migration, discrimination, and lack of government and financial support are other factors.
Action plan: The Language Policy Statement of the Garifuna Nation, adopted in 1977, seeks to secure recognition of the language and culture by the governments of Belize, Honduras, Nicaragua and Guatemala. Policies are aimed at documenting and developing the language. The Garifuna action plan seeks to address concerns of the Garifuna Nation through activities relating to land, education, language and culture, health care and other social issues and support for community and economic development.

萨培拉人的口头遗产与文化现象--厄瓜多尔和秘鲁

萨培拉人居住在这个地球上以物种多样化著称的亚马逊河流域。他们通过语言、宗教仪式、神话、艺术，甚至传统医药表达和雨林的密切关系，这对全球意义非凡。尽管经过四个世纪的殖民统治、基督教的强制推行、被迫的劳作、疾病、战争、迫在眉睫的森林滥采滥伐，萨培拉人都没有停止为保护祖先传统和雨林生活的奋斗。在被西班牙占领之前，39个种族，这一文化遗产的承载者使之代代相传。
威胁：据估计，萨培拉人口还不到300人，只有5人可以流利地使用这种语言。其中200人居住在厄瓜多尔，100人居住在秘鲁。
保护计划：厄瓜多尔和秘鲁决定让萨培拉语言得以重生，保护其文化遗产，研究并保护原始宗教和传统医药，巩固萨培拉社区，并鼓励厄瓜多尔和秘鲁的萨培拉人增进交流。
The Oral Heritage and Cultural Manifestations of the Zápara People--Ecuador and Peru
The Zápara people of the Amazon rainforest are inhabitants of one of the most bio-diverse areas of the world. Their intimate knowledge of the rainforest is of global significance and is expressed through their language, rituals, mythology and arts, as well as traditional medicine. Despite the adverse impacts of conquest, forced conversion to Christianity, enforced labour, disease, as well as wars and impending deforestation, over the past four centuries, the Zápara have fought to preserve their ancestral knowledge and way of life in the rainforest. As the surviving bearers of a cultural heritage that included some 39 other populations before the Spanish conquest, it is of crucial importance that they are able to transmit this heritage to future generations.
Threats: The Zápara population is estimated at less than 300 people, with only five fluent in the language. An estimated 200 Zápara live in Ecuador, and 100 in Peru.
Action plan: Ecuador and Peru propose to revitalize the language, protect the cultural heritage, study and preserve shamanism and traditional medicine, strengthen the Zápara communities and encourage connections between the Záparas of Ecuador and Peru.

卡提亚达姆梵剧--印度

卡提亚达姆梵剧是一种神圣的戏剧，来源于12至17世纪期间的寺庙戏剧。梵剧由繁复的仪式、布景、管弦乐队和舞台道具组成。象征神圣的火把、圣洁的舞台、心灵纯净的演员，以及庄严神圣的演出，都显示出梵剧的宗教本源。
卡提亚达姆梵剧表演在喀拉拉邦的Chakyar，Nambiar和Nangiar部落代代相传。保护梵剧是如此重要：对于喀拉拉邦，马拉雅拉姆方言亟需保护；对于整个印度南部，德拉威语的梵剧文化万古流芳；对于印度，它是一个国家的财富。
威胁：卡提亚达姆梵剧正面临着因缺少资金支持而逐渐消失的危险。另外，Chakyar家族以表演梵剧为生的人越来越少，18个家族中只有5户还在继续这个职业。
保护计划：提议建立卡提亚达姆梵剧档案和资料馆。计划包括组织培训工场、制作道具服装等相关用品、培养表演大师。号召多建两家传统的剧院以供梵剧表演。
Kuttiyattam Sanskrit Theatre--India
Kuttiyattam is a form of sacred theatre which was originally performed in temple theatres called Kuttampalams dating from the 12th to 17th centuries. It involves elaborate rituals and compositions, orchestras, and stage properties. The use of fire as a sign of the divine, the sanctification of the stage and the purification of the actors, along with the sacred power of the performance, support a view that Kuttiyattam theatre derives from a sacrificial ritual.
The transmission of skills and techniques for performing Kuttiyattam is hereditary in the Chakyar, Nambiar and Nangiar communities in Kerala, southern India. The preservation of the Kuttiyattam is important: for India as a nation, preserving its national heritage; for Kerala as a state and the language of Malayalam; and for the preservation of ancient traditions of southern India, as expressed in Dravidian languages and encompassing Sanskrit cultural expressions.
Threats: Kuttiyattam is in danger of disappearing due to lack of funding to support its productions, and the decline of the Chakyar families who maintain its tradition. Only five of the 18 Chakyar families in the profession remain.
Action plan: A Kuttiyattam archive and library is proposed. Plans include organizing workshops and training facilities and the production of a series on master-performers. The preservation programme also calls for making traditional theatres available for performances and building two new theatres.

昆曲--中国

昆曲是中国最古老的，也是最有影响力的一个剧种。在中国的很多地方都有昆曲的演出。一部戏曲通常包括至少24折，包括独唱、复杂的故事主线和次要情节，题材涉及人或神。昆曲以12个演员通过手势、身段、打斗招式、杂技和一些程式化的舞蹈和歌唱来表现，并由管弦乐和打击乐器伴着吟唱和表演。
昆曲来源于明清时代（1644-1911）的戏曲。1949年新中国成立后，政府开办了传统戏剧和音乐的培训学院和研究机构。文化大革命期间（1966-76）这些措施被压制，80年代初，文化部号召所有幸存的昆曲演员和其他剧种的演员重新开始他们的演艺生涯。一代代新人也就得以吸收和培训。
威胁：缺少统一固定的表演形式，且自从1990年以来，登台表演只零星地有过。
保护计划：戏曲研究院开始正视收集昆曲剧本的各种版本、照片、录音和录像片。政府计划支持六个现有的昆曲剧院、新学员的培训、稀有剧种的复兴，并组织各种节日。
Kunqu Opera--China
Kunqu is China's oldest and one of its most influential theatrical traditions. It is performed in many areas of the country. A Kunqu play usually consists of more than 24 scenes - accompanied by arias - with a complex plot and subplots involving human or supernatural elements. The performance usually features 12 actors who employ gestures, pantomime, mock combat and acrobatics, as well as stylized dancing and singing. A small ensemble of wind and string instruments, and percussion instruments accompany the singing and stage action.
Legacies of the Kunqu theatre are librettos from the Ming and Qing periods (1644-1911). When the People's Republic of China was established in 1949, the government set up training academies for traditional theatres, as well as research institutes on traditional music and theatre. The Cultural Revolution (1966-76) suppressed these measures, and in the early 1980s, the Ministry of Culture called on all surviving Kunqu actors, as well as actors from other traditional theatres, to resume their acting careers. New actors were also recruited and trained.
Threats: The lack of a consistent programme for Kunqu performances, which, since 1990, have only been staged sporadically.
Action plan: The Opera Research Institute envisages the collection and publication of scripts, photographs, and audio and video recordings of Kunqu performances. The government plans to support the six existing Kunqu opera houses and the training of new performers, the revival of rarely performed operas, and the organization of festivals.


博恩逊区的文化空间--乌兹别克斯坦

位于小亚细亚平原到印度的博恩逊区是世界上最古老的居住区之一。至今仍保留着古老的文化和宗教，如索罗亚斯德教、佛教和伊斯兰教。很多与季节和家庭有关的传统仪式仍存在着，人们以歌曲、舞蹈和音乐庆祝节日。他们求雨的方式是将一个布偶放入河中吸满水，这种仪式就来自于索罗亚斯德教。留存下来的习俗还有婚礼、葬礼及治病的驱邪仪式。
威胁：苏联时期的文化政策忽视博恩逊的传统艺术。
保护计划：地方组织正在收集、整理民俗传统。民俗学者、音乐学者和民族学者将致力于研究这些受到威胁的传统文化。音乐和歌曲会以出版物、音乐会和节日的形式再现。
The Cultural Space of the Boysun District--Uzbekistan
Boysun is one of the oldest inhabited places in the world. Situated on the road from Asia Minor to India, it preserves the traces of ancient cultures and religions including Zoroastrianism, Buddhism and Islam. Many traditional rituals connected with seasonal and family events are still alive - and celebrated with songs, dances and music. The rite to invoke the god of rain, derived from Zoroastrian beliefs, involves making a cloth doll which is left to soak in a river. Marriage and funeral rites, and shamanist rituals for curing illnesses, survive.
Threats: The cultural policy of the Soviet era ignored the traditional arts of Boysun.
Action plan: Local groups are collecting and documenting traditions. Folklore specialists, musicologists and ethnologists will be engaged to research threatened cultural traditions. Music and songs will be published and concerts and festivals will be organized.


能剧和狂言--日本

能剧和狂言的产生可以追溯到8世纪，随后的发展又融入了多种艺术表现形式，如杂技、歌曲、舞蹈和滑稽戏。今天，它已经成为了日本最主要的传统戏剧。该剧由传统文学作品、面具、服装、道具和舞蹈组成。
有两种类型：能剧和狂言。"能剧"中超自然的英雄化成人类讲述故事。面具用来表现幽灵、女人、孩子和老人。"狂言"以滑稽的对白来表演，剧本采用的语言为中世纪时的口语。
威胁：青年人对古老戏剧没有兴趣。
保护计划：自1957年被列为无形遗产后，能剧和狂言及其艺术家们得到了应有的保护。日本政府提供财政支持培训戏剧演员。一整套记录该古老剧种的计划正在筹备。
Nogaku Theatre--Japan
The Nogaku theatre dates back to the 8th century and evolved incorporating various artistic forms such as acrobatics, song, dance and comic impersonations. Today, Nogaku is the main tradition of Japanese theatre. The plays, often inspired by traditional literature, incorporate masks, costumes, props and dance.
Nogaku encompasses two types of theatre : the No and the Kyogen. In the No, supernatural heroes become human to tell a story. Masks represent, for example, ghosts, women, children and old men. Ky?gen relies on comic dialogues, for which scripts are written in a medieval oral language.
Threats: Interest in Nogaku is in decline among young people.
Action plan: The Nogaku has been designated an Intangible Cultural Property since 1957 and is thereby protected, along with its traditional artists. The Japanese government provides financial support and training for N?gaku theatre actors. A system for recording the performances is planned.

JONGMYO宗庙皇家祭祖仪式及神殿音乐--韩国

皇家儒教神殿用于供奉朝鲜王朝的祖先，主持独特的歌舞音乐等表演。每逢五月的第一个周日，皇室后裔就会组织祭祖活动。这种典型的宗庙祭祀以传统的中国经典为基础，通过祭祀祖先和孝行希望祖先的灵魂得到永久的安息。
盛装的宗教祭司头戴王冠代表王族，在圣器里摆放祭祀用的食物和美酒。锣、钟、琵琶、锡塔尔琴、长笛和64种舞蹈分别代表着"阴"和"阳"。其中一种舞蹈，MUMNU代表国王间的战斗，也显示了阴阳的力量。
威胁：现代化使得民众对神殿仪式和传统音乐失去兴趣。
保护计划：该仪式和音乐已经被列入了国家无形遗产保护名录，并于1982年立法保护文化遗产和传统艺术家。为增加祭祀仪式表演艺术家的培训课程即将出台。复兴传统仪式委员会的史料调查工作得到支持，而且，韩国国家传统戏剧中心和国家音乐学院也开始联合研究恢复传统服饰、相关用品、曲谱和乐器。
Royal Ancestral Rite and Ritual Music in Jongmyo Shrine--Republic of Korea
Jongmyo, the royal Confucian shrine in Seoul dedicated to the ancestors of the Joseon dynasty, hosts a unique ritual of song, dance and music. Held on the first Sunday in May, it is organized by the descendents of the royal family. This typical Confucian ritual is based on classical Chinese writings on the cult of ancestors and filial piety with a prayer for the eternal peace of the ancestral spirits in their shrine.
Religious officials, dressed in costumes with a crown for the king and diadems for the others, make offerings of food and wine in sacred vessels. The symbols of Yin and Yang are represented by the music of gongs, bells, lutes, sitars and flutes, and 64 dances. The Mumnu, a war dance, represents the actions of the kings and through its choreography, the forces of Yin and Yang.
Threats: Modernization is leading to a declining interest in the rite and ritual music of Jongmyo Shrine.
Action plan: The ritual and music are already protected on the List of the Intangible National Heritage and the 1982 law is protecting cultural properties and traditional artists. Training courses are proposed to increase the number of people skilled in participating in the ritual. A committee to revive the rituals is envisaged to undertake historical research, as well as studies for restoring the costumes, accessories, musical scores and instruments in co-operation with the Korean National Centre for Traditional Drama and the National Academy of Music.

伊夫高人的哈德哈德圣歌--菲律宾

在播种和收获稻谷、守丧日和其他仪式上，伊夫高人就会吟诵和传唱哈德哈德圣歌。据估计圣歌出现于7世纪之前，由40个篇章组成的圣歌通常需要3至4天才能吟诵完毕。圣歌的语言几乎无法形成对应的文字，歌词中充满着反复、象征、明喻和暗喻等修辞手法。圣歌以领唱、合唱的形式表现出来，吟诵者多为上年纪的妇女，而且社会地位显赫。所有的圣歌通篇只有一个曲调，但以文字记录的圣歌寥寥无几。
威胁：信奉天主教削弱了伊夫高传统文化的力量。与圣歌息息相关的人工收割稻谷已经被机械化代替，葬礼守丧活动也被电视和收音机取代。虽然梯田已列入了世界遗产名录，但是耕种者却越来越少。一小部分了解圣歌的人已经年迈，而年轻人却对这传统毫无兴致。
保护计划：菲律宾法律保护原住民的权利，包括他们的知识产权。有历史文献和人文价值的图片出版物正在计划中。政府在筹备节日和原住民庆典仪式。国家图书馆和国家博物馆在为圣歌建立全套的档案。对青年人的传统教育项目也有望开展。
Hudhud Chants of the Ifugao--Philippines
The hudhud is recited and chanted among the Ifugao people - known for their rice terraces - during the sowing and harvesting of rice, funeral wakes and other rituals. Estimated to have originated before the 7th century, the hudhud - comprised of some 40 episodes - often take three or four days to recite. The language of the chants, almost impossible to transcribe, is full of repetitions, synonyms, figurative terms and metaphors. Performed in a leader/chorus style, the reciter - often an elderly woman - occupies a key position in society. There is only one tune, common to the entire region, for all of the verses. Very few written examples of hudhud exist.
Threats: The conversion of the Ifugao to Catholicism weakened their traditional culture. The hudhud was linked to the manual harvesting of rice which is now mechanized. It has been replaced at funeral wakes by television and radio. Although the rice terraces are inscribed on the World Heritage List, the number of cultivators continues to decrease. The few people who know all the poems are very old, and young people are not interested in this tradition.
Action plan: The rights of indigenous peoples are protected by Philippine law, including their intellectual property. Publication of historical and ethnological iconographs is planned. The government also proposes festivals and indigenous ceremonies. The National Library and National Museum are responsible for a complete archive of the hudhud. A project teaching the tradition to young people is foreseen.

温柔地思想

中央美院的乔晓光先生捷足先登，非物质文化遗产研究中心已经挂牌开业，正宗搞民俗的在干什么？

北雁南飞

还是对这个名词的界定感到迷惑，譬如民间信仰和和社会民俗中有关家族、人生仪礼、婚丧和岁时节日的部分是否可以统称为口头和非物质文化遗产？

Sylvie

不知施兄的“新定义”是什么时候的？跟我手上的Unesco指南不大一致。能提供具体日期吗？
刚刚又回Unesco的网站上查了，但见到的只有“无形遗产”的定义，如下。

The intangible heritage: being . .

The intangible heritage might be defined as embracing all forms of traditional and popular or folk culture, i.e. collective works originating in a given community and based on tradition. These creations are transmitted orally or by gesture, and are modified over a period of time through a process of collective recreation. They include oral traditions, customs, languages, music, dance, rituals, festivities, traditional medicine and pharmacopoeia, the culinary arts and all kinds of special skills connected with the material aspects of culture, such as tools and the habitat.

What for, and for whom?  
For many populations (especially minority groups and indigenous populations), the intangible heritage is the vital source of an identity that is deeply rooted in history. The philosophy, values, moral code and ways of thinking transmitted by oral traditions, languages and the various forms taken by its culture constitute the foundation of a community’s life. The essentially ephemeral nature of this intangible heritage makes it highly vulnerable. It is urgent to take action!

——The intangible heritage is vast in extent and concerns each individual, for everyone bears within him the heritage of his own community. The safeguarding of that heritage must be triggered by individual initiative and backed up by associations, by specialists and by institutions; only then will the national authorities take it into account. UNESCO is there to give assistance whenever requested to do so by the authorities of a Member State.

——It is not easy to map out the boundaries of what is called the cultural heritage of humanity. How can the product of some skill or expertise be distinguished from the person who created it? How can one probe the mysteries of a Gothic cathedral without first learning about the techniques of European medieval master builders? Everything created by human beings is the product of human genius and human creativity, which allow knowledge and skill to be enhanced and passed on from one person to another and from one generation to the next. The intangible heritage imbues every aspect of an individual’s life and informs all products of the cultural heritage - artefacts, monuments, sites and landscapes.

—— Through its various activities, the Intangible Heritage Unit of UNESCO’s Cultural Heritage Division aims to serve as a link between the safeguarding of the tangible and the preservation of the intangible heritage.


[ 本帖由 Sylvie 于 2003-1-11 21:32 最后编辑 ]

Sylvie

对不起，我查到了“新定义”的出处，附下， 此其一； 其二， 我突然又记起，今年夏天在一个会议上见到Unesco的副总干事纳吉博士，当时他专门提及：Unesco正在请专家对这个“新定义”作出重新修正，可望10月（去年）出台。但看来这个“定义”尚未定义，难度之大，可想而知。

或许我们该看看最初的定义与这个“新定义”有什么不同，等“新新定义”出来后，大家再作比较？待会儿再贴出原来的定义。

http://www.unesco.org/culture/heritage/intangible/masterp/html_eng/guidee.doc


New Definition (October~November 2001)

A new definition of oral and intangible heritage proposed by a group of experts in Turin in March 2001 and quoted below was studied by the Executive Board at its 161st session and by the General Conference at its 31st session (October-November 2001, 31 C/43). It is worded as follows:

“people’s learned processes along with the knowledge, skills and creativity that inform and are developed by them, the products they create and the resources, spaces and other aspects of social and natural context necessary to their sustainability; these processes provide living communities with a sense of continuity with previous generations and are important to cultural identity, as well as to the safeguarding of cultural diversity and creativity of humanity. ”



Type of oral and intangible heritage

--The Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity rewards two types of manifestation of intangible cultural heritage. Intangible cultural heritage is in fact manifested either as a regularly occurring form of cultural expression, such as musical or theatrical performances, rituals or diverse festivities, or as a cultural space defined as a place which brings together a concentration of popular and traditional cultural activities and also as a time for a normally regularly occurring event. This temporal and physical space should owe its existence to the cultural manifestations which traditionally take place there.

--The Member States are therefore invited to submit candidatures proposing forms of cultural expression or cultural spaces in which the intangible cultural heritage of a given community is manifested. For example, these may be cultural manifestations that are closely linked to languages, oral traditions, theatrical arts and know-how linked to forms of material culture. Filmed documents or audiovisual archives may not be the subject of candidatures; they should be presented to UNESCO’s Memory of the World programme.

Sylvie

原来的定义（1998）：

非物质遗产指南（摘选）

在1989年11月联合国教科文组织第25届大会上通过了关于民间传统文化保护的建议, 并制订有关民间传统文化非物质遗产各个方面的国际标准文件。这个国际标准文件要求各会员国采取法律手段和一切必要措施，对那些容易受到世界全球化影响的遗产进行必要的鉴别、维护、传播、保护和宣传，并向人们指出，有大量属于文化特性和少数当地民族文化渊源的口头遗产正面临消失的危险。因此，急需告戒有关当局及这些遗产的拥有者，使他们知道这些遗产的重要价值，并知道怎样去保护它。

建议在最后的一章关于促进国际合作的条文中指出，会员国要对那些民众或社团的具有象征性精神价值的非物质遗产要给予更大的关注。秘书处根据建议的精神不断提出活动方案，如非物质民间传统遗产的动员行动、清查行动、抢救行动、宣传和维护行动等。
──执行委员会在142次会议上通过了5.5.5号决议，并且为建立“人类生动财富”系统制订了工作指南，同时总干事要求各会员国建立本国的“人类生动财富”系统。
──基于同样思想，联合国教科文组织1997年11月第29次全体会议上通过一项关于建立一个国际鉴别的决议，这个决议称为：“联合国教科文组织宣布人类口头遗产优秀作品”。
──联合国教科文组织执委会第154次会议指出，由于“口头遗产”和“非物质遗产”是不可分的，因此在以后的鉴别中，在“口头遗产”的后面加上“非物质”的限定。
──执委会在155次会议上（1998）制定了关于由联合国教科文组织宣布为人类口头及非物质遗产优秀作品的评审规则（见附件1）规则中关于国际鉴别的目的和“口头及非物质遗产”的定义叙述如下：

目的：号召各国政府、非政府组织和地方社区采取行动对那些被认为是民间集体的保管和记忆的口头及非物质遗产进行鉴别、保护和利用。只有这样，才能保证这些文化特异性永存不灭。联合国教科文组织的宣布也是为了鼓励个人、团体、机构和组织根据联合国教科文组织的宗旨，积极配合其有关纲领和1989年关于民间传统文化保护建议书对有关的口头及非物质遗产进行管理、保存、保护和利用。

定义：传统的民间文化是指来自某一文化社区的全部创作，这些创作以传统为依据、由某一群体或一些个体所表达并被认为是符合社区期望的，作为其文化和社会特性的表达形式、准则和价值通过模仿或其它方式口头相传。它的形式包括：语言、文学、音乐、舞蹈、游戏、神话、礼仪、习惯、手工艺、建筑艺术及其它艺术。除此之外，还包括传统形式的联络和信息。

代表作评选标准
在评定工作中评审团及其专家们，把规则（附件1）中的第一条作为主要条件：即，参选作品应该具备体现人类的创造天才的优秀作品的特殊价值。因此，为了让评审团注意到这一点，参评作品的特殊价值要从以下方面得到证实。

1）或者是具有特殊价值的非物质文化遗产的集中体现。
2）或者在历史、艺术、人种学、社会学、人类学、语言学及文学方面有特殊价值的民间传统文化表达。
申报的文化空间或文化表达形式，为了能被联合国教科文组织宣布为人类口头及非物质遗产优秀作品，还必须符合“联合国教科文组织宣布人类口头及非物质遗产优秀作品”规则的五项条件。

因此，此申报的作品应该：
1）表明其深深扎根于文化传统或有关社区文化历史之中。
2）能够作为一种手段对民间的文化特性和有关的文化社区起肯定作用，在智力借鉴和交流方面有重要价值，并促使各民族和各社会集团更加接近，对有关的群体起到文化和社会的现实作用。
3）能够很好开发技能，提高技术质量。
4）对现代的传统具有唯一见证的价值。
5）由于缺乏抢救和保护手段，或加速的演变过程、或城市化趋势、或适应新环境文化的影响而面临消失的危险。

施爱东

非常感谢S兄的帮助！我曾到处找一份权威的资料找不着，只好饥不择食地到处拼凑资料。敢问S兄，材料的权威出处是什么，如果我想引用这些文献，保险吗？或者说，我该如何标出处？又或者说，该到哪里找这些材料？
在下僻居乡间，学力不足，还是首善之都高手云集，信息灵通，敢请兄台援之以手？

nanwan

口头和非物质遗产
(2002-11-07 07:52:20)

根据联合国教科文组织的定义，口头和非物质遗产是指各种类型的民族传统和民间知识、各种语言、口头文学、风俗习惯和民族民间的音乐、舞蹈、游戏、礼仪、手工艺、传统医学、建筑术以及其他艺术，也就是所谓的无形文化遗产。与有形文化遗产（物质遗产）相比，无形文化遗产往往以声音、形象和技艺为表现手法，依靠特定民族、特定人的展示而存在。
（据2002年10月24日《中国青年报》）

Sylvie

施兄：小的这厢有礼了。

材料的来源是──联合国教科文组织（Unesco）的官方网站，引用当然是可以的，也是完全保险的，因为在Unesco的网站上你可以查询所有文件和资源。

关于“口头及非物质资产”的定义，有两个细节要注意：一是原来就叫“非物质遗产”，155次执委会上改为“口头及非物质遗产”，原因是专家们认为非物质遗产与口头遗产不可或分。这是我们民俗学者可以思考的一个角度。二是，Unesco的相关文献中，又指“口头及非物质遗产”为“无形文化”，所以有时表述为“口头／无形／非物质遗产”。

Unesco的定义普遍被认为是“权威”的，但该组织在“定义”时也遇到了极其复杂的学术问题，所以他们一再修正。我想主要是“人类文化的多样性”所致，一种“放之四海皆准”的定义当然会遇到“多样性”本身的挑战。不论怎样，要搞清楚Unesco的定义问题，首先要搞清楚文件发布的时间先后。这也是从你的帖子上才知道我手上的定义已经“过期”。所以应该谢谢你的先知先觉。不过我总觉得“新定义”没有“老定义”清楚。还有，关于这些个“恼人” 的概念问题，你也可以通过以下几个网站上查查：

中国联合国教科文组织全国委员会（全委会）http://www.unesco.org.cn/cn/

中国民俗摄影协会网站：http://www.china-fpa.org/act/unesco.htm （这里比较全一些）

中国世界遗产网 http://www.cnwh.org/main.asp
[ 本帖由 Sylvie 于 2003-1-12 16:26 最后编辑 ]

Sylvie

;)刚才又看到一个Unesco的文件，有关民间创作的保护。附上供大家参考。
资料来源：http://www.china-fpa.org/act/unesco.htm