Xinjing town paper-cutting skills
Li Zhiwei writes about a municipal service for cultural producers to find audiences across Shanghai.
通过公共文化服务平台，非遗在上海社区的传播
非遗在中国属于公共文化的内容,在《中华人民共和国非物质文化遗产法》的指引下,通过非遗的各项保护政策的实施,非遗已经纳入国家公共文化内容。非遗保护曾提出“非遗进社区”的理念,后来又改为“非遗在社区”以及“非遗走进现代生活”,这些理念的宣传都是希望在城市生活中引入非遗的内容,唤醒人们对于传统文化的认识,但实际上大多时候只有手工制品才能进入日常日常日常日 日常生活和城市商业,而且涉及的品类很有限,比如:手工制作的包、茶具、服装等,这些产品只是手工艺者的独自立生产或者是工业文创制品,不具有传统社区的生活意义,传统文化的要素无法在城市乃至乡村得到完整存续,很难活态传承。
Intangible cultural heritage belongs to public culture in China. Under the guidance of the Law of the People’s Republic of China on Intangible Cultural Heritage and through the implementation of various protection policies for intangible cultural heritage, intangible cultural heritage has been included in the national public culture. The concept of “intangible cultural heritage into the community” was put forward for the protection of intangible cultural heritage. Later, it was changed to “intangible cultural heritage in the community” and “intangible cultural heritage into modern life”.
The aim of these concepts is to introduce intangible cultural heritage into urban life and awaken people’s understanding of traditional culture. But in fact, most of the time only handmade doods can enter daily life and urban commerce, and the categories involved are very limited, such as handmade bags, tea sets, clothing, etc. These products are the independent production of handicraftsmen or industrial cultural and creative products, which do not have the meaning of traditional community life. The elements of traditional culture cannot be completely preserved in cities and even villages, and it is difficult to pass on them in a living way.
目前,上海市级非遗保护项目有273项,其中传统技艺有114项,但对于大多数市民来说,还是陌生的,人们或许都知道一些非遗项目,但在这个国际商业都市,非遗或者说传统文化早已是一种文化符号和商业资源。比如在日常生活中除了“小绍兴白斩鸡”“羊肉加工技艺”一些饮食类的传统技艺，其他的传统技艺在日常生活中都很难见到。在城市城镇化的进程中,仅存的非遗碎片成为公共文化的重要内容,政府将非遗纳入公共文化的视野，实际上是期待借助社区以外的力量来保护或者激发非遗的复苏，或者至少可以帮助人们唤起传统回忆。
So far, there are 273 intangible cultural heritage protection items at the municipal level in Shanghai, including 114 items of traditional skills, but they are still unfamiliar to most citizens. People may know some intangible cultural heritage items, but in this international commercial city, intangible cultural heritage or traditional culture has long been a cultural symbol and commercial resource. For example, in addition to some traditional cooking skills such as “Little Shaoxing White Chicken” and “Mutton Processing Skills”, other traditional skills are difficult to see in daily life. In the process of urbanization, the remaining fragments of intangible cultural heritage have become an important part of public culture. The government brings intangible cultural heritage into the vision of public culture. At least it can help people evoke traditional memories.
Farmer’s painting in Xinjing Town
在上海，非遗展演可以通过上海市公共文化内容供给平台（以下简称文供平台）成为公共文化服务产品。上海市公共文化供应形成了一个体系，在这个体系里上海市群众艺术馆是公共文化服务的市级配送中心,通过文供平台建立文化购买方和供给方的交易机制，市级配送中心平衡上海市各个区的文化需求和供给。文供平台提供公共文化需求方（社区基层、各街镇社区文化活动中心）和供给方（有意愿参加公共文化内容供给的社会主体）交换资源的机会（一个有受众，一个有演出）。社会主体想成为供给方需要经过审批，社会主体是指具有独立法人资格且无行业不良记录及影响的各类社会主体，可参与“在线配送”项目申报。供给方在文供平台上提交申报文化产品的内容和类型，这些文化产品通过文供平台审批后才能进入文供平台的项目资源列表。文供平台的运行机制如图1
In Shanghai, intangible cultural heritage performances can become public cultural service products through the Shanghai Public Cultural Content Supply Platform (hereinafter referred to as the Cultural Supply Platform). Shanghai’s public cultural supply has formed a system, in which the Shanghai Mass Art Museum is a municipal distribution center for public cultural services. Through the cultural supply platform, it establishes a trading mechanism for cultural buyers and suppliers and balances the cultural demand and supply in various districts of Shanghai. The cultural supply platform provides an opportunity for the public cultural demanders (community grassroots, community cultural activity centers of each street and town) and suppliers (social subjects willing to participate in the supply of public cultural content) to exchange resources (one has an audience, and the other has a performance).
Social subjects need to be approved if they want to become suppliers. Social subjects refer to various social subjects with independent legal personality and no adverse industrial records and impacts. They can participate in the application of “online distribution” projects. The supplier submits the content and type of cultural products to be declared on the platform. These cultural products can enter the project resource list of the platform only after being approved by the platform. The operation mechanism of the Cultural Supply Platform is shown in Figure 1
图1 上海市公共文化服务平台的运行机制
（The Operating Mechanism of Shanghai Public Cultural Service Platform）
供应方能够提供的文化内容应该包括哪些内容，文供平台做出了内容规划（因为疫情的影响，加强了数字化的内容需求），文供平台对于供应方提供的内容要求：以传承中华优秀传统文化，弘扬中华美育精神为重点，挖掘上海红色文化、海派文化、江南文化内涵，围绕“建筑可阅读”“海派城市考古”“非遗新体验”等主题进行数字化文化内容创新，包含文艺演出、文化讲座、艺术品鉴、生活美学、旅游休闲类等项目。具体分为几类：（一）演出类包括戏剧、音乐、舞蹈、曲艺、杂技、综合等表演形式（二）艺术技艺的学习包括文学、戏剧、音乐、舞蹈、美术、摄影、书法、曲艺、非遗、手作、新媒体应用等门类的数字教学产品。社区居民可以网上学习（三）增添生活乐趣部分(生活美学) 包括但不限于茶道、花道、香道、琴道、汉服复兴、中装剪裁、美食美味、古典家具、古今收藏、工艺民艺、旅行民宿、非遗保护、公共艺术、审美教育、游戏动漫、室内设计、社区规划等内容。
What cultural content should the supplier be able to provide? The cultural supply platform has made a content plan (due to the impact of the epidemic, the demand for digital content has been strengthened). The content requirements of the cultural supply platform for the supplier: to inherit the excellent Chinese traditional culture, focusing on promoting the spirit of Chinese aesthetic education, excavating the connotations of Shanghai red culture, Shanghai style culture, and Jiangnan culture, and carrying out digital cultural content innovation around themes such as “architecture can be read”, “Shanghai style urban archaeology” and “intangible cultural heritage new experience”, including theatrical performances, Cultural lectures, art appreciation, life aesthetics, tourism and leisure and other projects. Specifically, it is divided into several categories: (1) performances include drama, music, dance, folk art, acrobatics, comprehensive performances, etc.
(2) art skills learning includes literature, drama, music, dance, fine arts, photography, calligraphy, folk art, Digital teaching products in the categories of intangible cultural heritage, handicrafts, and new media applications, so community residents can learn online.
(3) The “life aesthetics” section includes but is not limited to tea ceremony, flower way, incense way, Qin Way, Hanfu revival, Chinese clothing tailoring, delicious food, classical furniture, ancient and modern collection, craft and folk art, travel homestand, intangible cultural heritage protection, public art, aesthetic education, games and animation, interior design, community planning, etc.
Needlepoint Coaster making course
这些由供应主体提供,被社区居委选择的文化服务内容,政府会支付供应方1000元到20000元不等的费用,当然这些费用是通过双方签订文化服务合同给予供应方的。文供平台根据供应方提供的文化内容支付费用的进行的金额分配,一般文化讲座类的1000-2000元,而对于文化内容演出人员多、设备有需求成本较高的文化供给内容,文供平台部门所给的金额就会稍高。一般而言,社会主体从公共文化服务方面得到的收益并不多,符合政府对于公益性文化服务的定位。
For the cultural services selected by the community committees provided by the suppliers, the government will pay the suppliers ranging from 1,000 yuan to 20,000 yuan. Of course, these fees are given to the suppliers through the signing of cultural service contracts between the two parties. According to the distribution of the amount provided by the provider of cultural content, the general cultural lecture class is 1,000-2,000 yuan. For the cultural supply content with a large number of cultural content performers and high demand for equipment, the amount given by the cultural department will be slightly higher. Generally speaking, social entities do not get much benefit from public cultural services, which is in line with the government’s positioning of public cultural services.
笔者曾经作为文化服务供应方,申报了非遗保护理论的讲座,这个讲座被静安区大宁街道延峰社区居委选购。讲座的场所就在延峰社区的文化活动中心,在讲座的现场有20位左右的居民,这些居民多是退休的老人,讲座进行了大约两个小时,通过讲座,这些居民了解了中国非遗的概念和内容(图2)。总体来看,在社区文化中心进行交易的文化商品,文艺表演和手工制作的内容,更受到社区居民欢迎的,但参与活动的居民大多以中老年为主,也有青少 年在周末时间的参加活动。非遗在社区的表演和传播,的确是起到了非遗宣传推广的作用,但不能完全期待通过公共文化服务来实现非遗的传承。文供平台的机制确实能够起到丰富社区居民文化生活的作用,但由于文化供给内容的规定性,以及购买成本较低,这种文化商业服务是普惠性质的,文化多样性的再生能力是缺乏的。
As a cultural service provider, the author applied for a lecture on the theory of intangible cultural heritage protection, which was purchased by the Yanfeng Community Neighborhood Committee of Daning Street, Jing’an District. The lecture was held in the cultural activity center of Yanfeng Community. There were about 20 residents at the lecture site, most of whom were retired elderly people. The lecture lasted about two hours. Through the lecture, these residents learned about the concept and content of Chinese intangible cultural heritage. In general, the cultural goods, artistic performances and handcrafts traded in the community cultural center are more popular with the community residents, but most of the residents participating in the activities are middle-aged and elderly, and some teenagers also participate in the activities on weekends.
The performance and dissemination of intangible cultural heritage in the community play a role in the promotion of intangible cultural heritage, but it cannot be expected to realize the inheritance of intangible cultural heritage through public cultural services. The mechanism of the document supply platform can indeed play a role in enriching the cultural life of community residents. However, due to the stipulation of the content of cultural supply and the low purchase cost, this kind of cultural commercial service is of the nature of universal benefit, and the regeneration ability of cultural diversity is lacking.
Craftsmen participate in Study and Training Program for Chinese Intangible Cultural Heritage Bearers
About Li Zhiwei
Li Zhiwei PhD is a teacher at the School of Publishing, Printing and Art Design, University of Shanghai for Science and Technology. His ancestral home is Nanyang, Henan. In 2021, he was the editor-in-chief of the “Lacquer Art Branch” of the third edition of the “Encyclopedia of China” on handicrafts. In 2021, he was hired by China National Committee for Terminology in Science and Technology as a member of the Traditional Skills Writing Group of the China National Committee for Nouns in Intangible Cultural Heritage. He is a member of the Lacquerware and Enamelware Special Committee of the Chinese Society of Cultural Relics. He is committed to the practice of lacquerware technology and the study of related technology theory. So far, he has published 11 journal papers on intangible cultural heritage theory and lacquerware technology research.
