When it comes to intangible cultural heritage, it’s likely familiar to everyone. A bowl of noodles from a time-honored hometown restaurant, folk rituals passed down from ancestors during festivals, or handmade tie-dye crafts created during travels—these scenes integrated into our daily lives are the best form of heritage preservation. The latest report from the Ministry of Culture and Tourism shows that during the “14th Five-Year Plan” period, China has achieved outstanding results in intangible cultural heritage protection. The fifth batch of national-level intangible cultural heritage representative projects included 325 items, and the number of projects inscribed on the UNESCO Intangible Cultural Heritage Lists has reached 44, ranking first in the world.

What does it mean for China to rank first with 44 world intangible cultural heritage items?

I believe that, unlike static cultural relics and historical sites that need to be preserved exactly as they are, the core characteristic of intangible cultural heritage is its “living nature”—it is the “life itself” that we are experiencing. In recent years, the “museum craze,” “cultural creative products craze,” and “intangible cultural heritage craze” have continued to heat up and become prevalent. From long queues at museums to check in at cultural relics and historical sites, to “Chinese aesthetic” outfits and cultural creative products integrated into daily life, traditional culture is entering the public’s view in diverse forms. It is noteworthy that intangible cultural heritage is also expanding its multiple values in the tide of the times. For example, the ethereal and melodious Kam Grand Choir appeared in “Nezha: The Devil’s Child Causes Havoc in the Sea,” where traditional rhythms and modern film art collided to create unique charm. This not only revitalizes the millennia-old cultural lineage with vibrant energy today but also forms a vivid cultural resonance in the hearts of hundreds of millions of Chinese people.

This cultural wave that permeates our lives is something we may have all personally participated in and subtly felt deeply. A few years ago, when I went to Yunnan for an interview, I saw designers turning oil-paper umbrellas into creative lampshades, which I found very interesting. It not only preserved the craftsmanship and essence of the intangible cultural heritage but also gave it practical value. This also made me realize that traditional skills find their way to survive through innovation, showcasing the essence of civilizational inheritance. This inheritance has always been about “where we come from and where we are going.” “Where we come from” is about reverence and adherence to cultural roots, continuing and remembering the wisdom of our ancestors, while “where we are going” is about accurately grasping the pulse of the times.

Today, material abundance not only gives people confidence in life but also awakens a deep-seated desire for cultural identity, injecting unprecedented vitality into this heritage. For example, the Dragon Boat Festival, familiar to everyone, originally aimed to ward off disasters and epidemics. Although this is no longer the primary purpose today, folk activities like dragon boat racing and hanging mugwort remain important ways for modern people to express good wishes and inspire motivation. According to media reports, a couple of years ago, China’s Permanent Representative to the United Nations presented Luban locks to permanent representatives of UN Security Council member states, using them as a metaphor: Luban locks are like peace—easy to take apart but hard to assemble, easy to destroy but difficult to rebuild. The act of disassembling and assembling demonstrates Chinese wisdom and has attracted international attention.

Thus, “intangible cultural heritage” shapes our lives and defines our cultural identity. Therefore, the “15th Five-Year Plan” proposal suggests “deeply implementing the project for inheriting and developing China’s excellent traditional culture, promoting systematic protection of cultural heritage and unified supervision and inspection,” making the foundation of “where we come from” more solid and the direction of “where we are going” clearer. In the future, we believe that our intangible cultural heritage will unlock more new ways of engagement that are close to the times and the public!

See you in the next issue!

Kam Grand Choir

The Kam Grand Choir is a UNESCO-recognized tradition of the Dong ethnic minority in southern China, known for its complex polyphonic singing performed without instrumental accompaniment. This ancient art form, passed down through generations, often features multi-part harmonies that mimic natural sounds and is central to the Dong people’s cultural and social ceremonies. Historically, the choir has played a vital role in preserving the Dong language and oral history.

Nezha: The Devil’s Child Causes Havoc in the Sea

This is a summary of a traditional Chinese folk tale, not a physical place. The story of Nezha, a divine child with supernatural powers, is a famous episode from the 16th-century Chinese novel *Investiture of the Gods*. In this legend, Nezha defeats a dragon prince, causing a great conflict with the Dragon King of the Eastern Sea, which ultimately leads to Nezha’s dramatic act of self-sacrifice and subsequent resurrection.

oil-paper umbrellas

Oil-paper umbrellas are a traditional handcrafted item originating in China over a thousand years ago, later spreading to other East Asian countries like Japan and Korea. They are made by meticulously applying oil to paper stretched over a bamboo frame, making them both waterproof and durable. Historically used for sun and rain protection, they have also become symbolic cultural objects associated with artistry, folk customs, and ceremonial occasions.

Dragon Boat Festival

The Dragon Boat Festival, also known as Duanwu Festival, is a traditional Chinese holiday with a history of over 2,000 years. It is held on the 5th day of the 5th month of the Chinese lunar calendar to commemorate the patriotic poet Qu Yuan, who drowned himself in protest. The festival is most famous for its dragon boat races and the eating of zongzi (sticky rice dumplings), which were originally thrown into the river to feed the fish and protect Qu Yuan’s body.

dragon boat racing

Dragon boat racing is a traditional Chinese paddling sport with a history dating back over 2,000 years. It originated as a ritual to appease river dragons and evolved into a commemoration of the patriotic poet Qu Yuan, who drowned himself in the Miluo River. Today, it is a global competitive sport and cultural festival, particularly celebrated during the Dragon Boat Festival.

mugwort

Mugwort is not a specific place or cultural site but rather a common perennial plant with a long history of use across various cultures. It has been utilized for centuries in traditional medicine, culinary practices, and spiritual rituals, particularly in East Asia and Europe. For example, it is associated with moxibustion in Traditional Chinese Medicine and was believed to ward off evil spirits in European folklore.

Luban locks

Luban locks are a traditional Chinese puzzle and mechanical toy named after Lu Ban, a legendary master carpenter and engineer from the Spring and Autumn period (around 500 BCE). These intricate wooden puzzles consist of interlocking pieces that must be disassembled and reassembled, showcasing clever joinery techniques without the use of nails or glue. They reflect ancient Chinese craftsmanship and are often used to stimulate logical thinking and problem-solving skills.

UNESCO Intangible Cultural Heritage Lists

The UNESCO Intangible Cultural Heritage Lists are an international program established in 2008 to safeguard and raise awareness of important cultural traditions and practices. These lists recognize living heritage, such as oral traditions, performing arts, social rituals, and traditional crafts, that are passed down through generations. The initiative aims to ensure the viability of this cultural diversity against the threats of globalization.