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Understanding the changing Intangible Cultural Heritage in tourism commodification: the music players’ perspective from Lijiang, China

Understanding the changing Intangible Cultural Heritage in tourism commodification: the music... While Intangible Cultural Heritage (ICH) emerges as a new topic in the fields of heritage studies and tourism studies, the changeability of ICH in tourism commodification is still under-researched. The tension between protection and commodification of ICH is intensified when ICH is regarded as a heritage to protect and a resource for commodification, such as in the case of China. With a musical ICH element in Lijiang, China as the case, this paper applies a Critical Heritage Studies approach to investigate the values and components of ICH from the perspective of the music players. From both the diachronic and synchronic dimensions, the research shows that the players construct the values of their ICH in a subject, diverse and dynamic process. The less- and the more-commodified forms of performance are not clearly differentiated; rather, they are regarded as equally important to realise players’ dynamic and subjective needs. Provided practitioners can engage with their ICH freely, commodification can be seen as an indispensable form of the ICH-making process. This paper aims to reveal the dynamism of ICH, to rethink the commodification of ICH, and to rethink the relationship between the commodification and the making of ICH from a critical approach. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Tourism and Cultural Change Taylor & Francis

Understanding the changing Intangible Cultural Heritage in tourism commodification: the music players’ perspective from Lijiang, China

Journal of Tourism and Cultural Change , Volume 17 (3): 22 – May 4, 2019

Understanding the changing Intangible Cultural Heritage in tourism commodification: the music players’ perspective from Lijiang, China

Journal of Tourism and Cultural Change , Volume 17 (3): 22 – May 4, 2019

Abstract

While Intangible Cultural Heritage (ICH) emerges as a new topic in the fields of heritage studies and tourism studies, the changeability of ICH in tourism commodification is still under-researched. The tension between protection and commodification of ICH is intensified when ICH is regarded as a heritage to protect and a resource for commodification, such as in the case of China. With a musical ICH element in Lijiang, China as the case, this paper applies a Critical Heritage Studies approach to investigate the values and components of ICH from the perspective of the music players. From both the diachronic and synchronic dimensions, the research shows that the players construct the values of their ICH in a subject, diverse and dynamic process. The less- and the more-commodified forms of performance are not clearly differentiated; rather, they are regarded as equally important to realise players’ dynamic and subjective needs. Provided practitioners can engage with their ICH freely, commodification can be seen as an indispensable form of the ICH-making process. This paper aims to reveal the dynamism of ICH, to rethink the commodification of ICH, and to rethink the relationship between the commodification and the making of ICH from a critical approach.

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References (89)

Publisher
Taylor & Francis
Copyright
© 2018 Informa UK Limited, trading as Taylor & Francis Group
ISSN
1747-7654
eISSN
1476-6825
DOI
10.1080/14766825.2018.1427102
Publisher site
See Article on Publisher Site

Abstract

While Intangible Cultural Heritage (ICH) emerges as a new topic in the fields of heritage studies and tourism studies, the changeability of ICH in tourism commodification is still under-researched. The tension between protection and commodification of ICH is intensified when ICH is regarded as a heritage to protect and a resource for commodification, such as in the case of China. With a musical ICH element in Lijiang, China as the case, this paper applies a Critical Heritage Studies approach to investigate the values and components of ICH from the perspective of the music players. From both the diachronic and synchronic dimensions, the research shows that the players construct the values of their ICH in a subject, diverse and dynamic process. The less- and the more-commodified forms of performance are not clearly differentiated; rather, they are regarded as equally important to realise players’ dynamic and subjective needs. Provided practitioners can engage with their ICH freely, commodification can be seen as an indispensable form of the ICH-making process. This paper aims to reveal the dynamism of ICH, to rethink the commodification of ICH, and to rethink the relationship between the commodification and the making of ICH from a critical approach.

Journal

Journal of Tourism and Cultural ChangeTaylor & Francis

Published: May 4, 2019

Keywords: Intangible Cultural Heritage; commodification; tourism; value; component; Lijiang

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