Developing Responsible Innovation Framework for Shanxi Intangible Cultural Heritage Digitization

Lu'an is a famous old revolutionary base area, known as the cradle of the Red Army and the hometown of Generals. The natural and humanistic environment is mainly reflected in its regional characteristics of "Jingjiang Huaijiang", the geographical location of "connecting the east and the west", and the beautiful scenery of "mountains surrounded by Yinghuo". There are many natural and humanistic landscapes and a collection of humanities in the territory. It is understood that there are currently 17 projects in Lu'an that are included in the list of "intangible cultural heritage" of Anhui Province. Among them, Lu opera, Lu'an melon slices production skills, Dabie Mountain folk songs, Shuxi production skills, and willow weaving skills are included in the national "intangible cultural heritage" list. Intangible cultural heritage is a new object of cultural heritage protection and a new way of cultural and social development. Lu'anlai has made certain achievements in the protection of "intangible cultural heritage". With the continuous development of tourism, it has provided good conditions for rural construction. Under the background of comprehensive rural revitalization, "intangible cultural heritage" is the potential resource of rural tourism and cultural industry in the future. At the same time, "intangible cultural heritage" is combined with tourism development. On the basis of protection, display, promotion and promotion, extensive aesthetic education is carried out to achieve the purpose of truly protecting "intangible cultural heritage", and at the same time, to achieve the purpose of continuously inheriting the cultural lifeline.

Cultural heritage is not limited to material manifestations; indeed it also includes intangible, living and fragile expressions, such as oral traditions, performing arts, festive events, or the knowledge and skills necessary to produce traditional crafts. This essay focuses on the issue of safeguarding intangible cultural heritage, especially in the framework of the French and Italian national cultural policies. In particular, it begins by following the evolution of the concept of heritage towards intangible cultural heritage and examining the principal historical events, programs and debates that in 2003 led to the adoption of a new international legal instrument: the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage. Then, considering the main changes of today's global economy, this study underlines the importance of intangible heritage from an economic, cultural and social perspective. Finally, the article seeks to examine different ways to implement the 2003 Convention at the national level. Traditional models of protection, valorization, and safeguarding need to be rethought on the basis of the specific characteristics of intangible heritage and of the needs of individuals, groups and communities that create, maintain and pass cultural heritage onto future generations. Two case studies, the French model and the Italian one, will be illustrated to identify the main measures necessary to implement an effective policy for the safeguarding of this fragile heritage.

Generation Z, born into the digital age, differs from previous generations in their perspectives on future generations, communication styles, and online consumption habits. They view technology as an essential part of daily life. Digital environments that transfer, preserve, and make cultural heritage values accessible encourage young people to engage with these values, enabling them to pass them on to future generations and reach a broader audience. Tourism is another factor that supports the sustainability of cultural heritage. Generation Z, whose consumer habits are shaped by digital technologies, has become a key segment in the tourism market. It is believed that transforming intangible cultural heritage elements into digital media could increase Generation Z's curiosity about and interest in cultural heritage tourism. As a result, intangible cultural heritage (ICH) values can be handed down to future generations, and conservation plans can be developed. This research conceptually explores the potential impact of Generation Z's interaction with digital intangible components on their intention to participate in cultural heritage tourism. The study's focus on Generation Z's digital engagement with intangible cultural heritage within the context of cultural heritage tourism makes it unique. Accordingly, it is recommended that the Theory of Planned Behavior model be used to examine how interactions with digital intangible cultural heritage influence Generation Z's intentions to engage in cultural heritage tourism. This study could serve as a foundation for further empirical research.

Recent research literature on intangible cultural heritage (ICH), conservation, and development increasingly acknowledges that ICH has meaning for multiple stakeholders and is served best by integrating them into conservation processes. Simultaneously, including stakeholders contributes to protecting individuals’ rights to identify, define and decide upon their own cultural heritage. This, in turn, supports human rights, and literature agrees that one way to realize continued ICH is via participatory inclusion. Participatory design and its methods and tools have been explored more detailed for ICH purposes in the last decade, because they seem to provide promising approaches for keeping ICH vital in the traditional cultural locations and settings, as well as in the diasporas. The following article explores the role of design when preserving and promoting intangible cultural heritage (ICH). The first part of the article reviews literature on ICH management, participatory design and participatory preservation projects. The second part applies findings from part 1 in a participatory design project on ICH preservation in the diaspora community of Uyghurs in Norway. The goal of the project was to design a concept, that displays, disseminates and connects Uyghur culture internally amongst the people in the diaspora as well as mediate Uyghur ICH to people in the Norwegian sociate. The third part of the article discusses advantages and challenges in applying participatory design for both design practice and design education. Findings of the article indicate that the sustainability of ICH preservation depends on that living heritage is kept alive. For this to happen, ICH must be allowed to transform according to the time and place of the culture bearers. This kind of transformation is especially significant for diaspora cultures. The preservation is best done when participatory research and participatory design projects, enabling the heritage to live through services, experiences and products, inform each other.

The culture of Malay has its own unique and distinctive identity and is the largest ethnic group that account for more than half of the Malaysia population. Performing arts is one of the creative forms of culture expressions that had been classified under the intangible cultural heritage by UNESCO. Dance is one of the domains within the performing arts that symbolised each unique ethnic group culture identity. Malay folk dances can be identified within certain regions or spiritual practices, often performed in festive celebrations such as wedding parties or religious ceremonies that include the dance movements, music and costumes. The preservation and enhancement of intangible cultural heritage through digital technology are becoming extremely important as to safeguard this irreplaceable source of social identity from fading away especially to the younger generation. Sustaining the continuity and integrity of cultural identity through folk dance would provide a local sense of unity and belonging, thus the transmission of intangible cultural heritage through digital technology is imperative as to ensure its wider recognition and dissemination. This paper is a part of research in laying foundation for digitising Malay folk dances comprises of movements, music and costumes. It focuses on the role of digital technology on enhancing cultural experience by exploring principal components with regards to their similarities and differences.

Intangible Cultural Heritage (ICH) includes traditional crafts, techniques, and knowledge systems that have been refined over generations. Many of these practices involve structured ways of working with materials, problem-solving, and iterative development, making them an important part of design education. However, integrating ICH into formal learning environments remains a challenge due to the lack of structured curricula, limited access to expert practitioners, and the need for scalable learning approaches. Digital learning platforms offer a way to address these challenges by providing structured and interactive learning experiences. This study explores how these platforms support ICH education by improving access to expert knowledge, engaging learners with heritage-based design concepts, and enhancing the overall learning experience. Through stakeholder interviews, learner surveys, and a simulated platform study, we examine key factors influencing the effectiveness of digital learning for ICH, including content organization, instructional methods, and learner engagement. The findings show that structured digital platforms help connect ICH inheritors with learners, making traditional knowledge more accessible and adaptable to different learning needs. Course structure, content clarity, and platform usability play an important role in maintaining learner interest and supporting engagement with ICH knowledge. The study also highlights how learner expectations and perceived learning value affect participation in ICH education. By analyzing how digital platforms can integrate ICH into design education, this study provides insights into improving learning outcomes and ensuring that traditional knowledge continues to contribute to creative and technical fields in a structured and accessible way.

The protection of intangible cultural heritage is of great importance, but traditional display methods are limited and difficult to attract young groups. The rapid development of meta-universe technology has great potential in the field of culture, which brings new opportunities for the inheritance of intangible cultural heritage. This paper focuses on the virtual display platform of intangible cultural heritage in meta-universe, which covers the platform design concept and architecture, related technology application, digitization and creation of intangible cultural heritage, functional module implementation and operation, and promotion strategy, etc. Through the use of various technological means, such as VR, AR, 3D modelling, blockchain, etc., and the construction of the platform through multi-source data collection, storytelling and narrative, the platform realizes the functions of virtual showroom browsing, interactive experience, social sharing and other functions. The platform helps to increase the popularity of intangible cultural heritage, promote heritage and innovation, expand the audience, provide innovative ideas and effective ways to protect intangible cultural heritage, and is of far-reaching significance in the field of cultural heritage.

This article reviews the different factors which generated international standard setting for the safeguarding of intangible cultural heritage, examines the conceptual evolution of this notion, and traces the various steps of negotiations leading to the adoption of the Convention in 2003. The establishment of the first normative instrument was the Recommendation on the Safeguarding of Traditional Culture and Folklore (1989). Much attention had been given to the question of Intellectual Property Rights, which at the end was left aside for a more global approach. In 1997, the World Forum on the Protection of Folklore, organized by UNESCO and WIPO (the World Intellectual Property Organization), concluded that the copyright regime was not adequate for ensuring protection, but that a new international agreement was needed. The 1992 UNESCO 'Intangible Cultural Heritage' programme consolidated by the UNESCO/Japan Fund-in-Trust, the creation of a world list of Living Human Treasures in 1993, the 1992 United Nations Convention on Biological Diversity, and the subsequent setting-up of the United Nations decade for indigenous and minority people (1995-2004) generated a number of significant events in favour of the safeguarding of intangible heritage and made urgent the need for a new normative instrument. The Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity was conceived in 1997 as a means to fill the gap in the concept of 'world heritage', which refers mainly to the 'Northern' natural and tangible cultural heritage. The Assessment of the 1989 Recommendation played a catalytic role for the successful adoption of the 2003 Convention, in which a more holistic conception of 'heritage' prevailed, with a predominant role given to artists, practitioners and communities deserving of respect and motivation. This Convention marks a fundamental ethical positioning.

The Historic Urban Landscape (HUL) Recommendation (UNESCO 2011) suggests that heritage management should be holistic, integrated, people-centred and focused on sustainable development goals. Both tangible and intangible heritage should be taken into account, allowing for appropriate change over time. A variety of stakeholders should be involved in planning processes, including all levels of government, NGOs and communities. Intercultural dialogue and mediation, as well as tools such as documentation, inventorying and mapping should be used to identify multiple layers of heritage. Implementing the Recommendation thus offers a wonderful opportunity to develop consultative, bottom-up, integrated planning for sustainable development in urban areas. This paper suggests that one barrier to integrating management planning for tangible and intangible heritage is a persistent confusion about what ‘intangible heritage’ is and why it deserves protection. Is it the values that local communities associate with their environment (‘intangible values’), or is it cultural practices that they happen to perform in that environment (intangible cultural heritage, or ICH)? Should ‘intangible heritage’ be managed as an attribute attesting to the authenticity of tangible fabric, or as a subject of safeguarding in its own right? If it means all these things at the same time, why is the same concept being used for so many different ideas and what are the consequences? The paper will suggest that a clearer conceptual understanding of intangible heritage is necessary to effectively integrate it into urban management strategies under the HUL approach.

Intangible Cultural Heritage Unesco In 1972 UNESCO adopts the “Convention for the protection of the world cultural and natural heritage”, with the famous “sites”. In 1999 the Executive Committee plans the setting up of a list of “Masterpieces of oral and intangible heritage of humanity”. Following the immediate positive feedback on the part of a number of states on 17 October 2003, during its 23rd session in Paris, the UNESCO General Conference approves the “Convention for the Safeguarding of Intangible Cultural Heritage”. An analysis is carried out of the terms of the convention, the answer of the states, the number and typology of the sites up to 2010 (the next proposals will be in 2014), the historical framework and the selection criteria. The most interesting fact is represented by the disregard of very important states, which do not appear either as adherents or on the list: old ones like Germany, Great Britain and the Netherlands or young ones like Canada, the United States, Australia and New Zealand.

Intangible cultural heritage (ICH) strengthens community identity and represents a resource for sustainable community development. The current extensive access to the Internet has facilitated the digitization of communication, including ICH. The aim of this article is to highlight the importance of both digitizing ICH and digital communication about ICH for local development. The results of a longitudinal research study on local ICH resources available on the official websites of Făgăraș Land administrative territorial units (ATUs) before and after the COVID-19 pandemic, together with the results of a content analysis on ICH on the social media accounts of the same ATUs, indicate the digitization of ICH as a sustainable local development resource whose potential can be better exploited. In Făgăraș Land there are also successful initiatives in the fields of both ICH digitization and digital communication about ICH local resources. The Museum of Canvases and Stories in Mândra ATU and the use of social media for communication about ICH in the case of Drăguș ATU are related to such initiatives and are presented as case studies in this article, highlighting the potential of ICH as a resource for sustainable community development in Făgăraș Land.

In the context of the rapid development of digital technology, the Internet and other media are used to strengthen the promotion and protection of intangible cultural heritage, and strive to promote the inheritance and development of China’s intangible cultural heritage. In order to maximize the integration of intangible cultural network marketing models and intangible cultural heritage resources, the study will expand the intangible cultural heritage exchange channels through which intangible cultural heritage resources can create more economic and social benefits. Intangible cultural heritage is the quintessence of our traditional culture, the result of the efforts passed on from generation to generation, and the cultural heritage that our young people should inherit. Gan embroidery is the inheritance of Hakka culture. It is a festive costume in festivals. It is also a manifestation of the ingenuity of the Hakka people. It also interprets the profound connotation of Hakka culture with ancient production methods and beautiful patterns. This article summarizes the connotation of Gan embroidery culture, summarizes the development problems faced by the current development of Gan embroidery, and explores the feasibility of Gan embroidery art’s innovative ideas and digital redesign in the digital age. The integration and development of Gan embroidery art and modern digital products can awaken the new cultural energy of Gan embroidery and promote the transmission and digital development of Gan embroidery culture.KeywordsDigitizationIntangible cultural heritageGan embroideryTraditional culture

Intangible Cultural Heritage Legislation in Asia: In Search for the Spirit of the 2003 UNESCO Convention

The rapid advancement of digital technology has challenged conventional models of cultural preservation, particularly in safeguarding intangible cultural heritage (ICH). This study aims to analyze the digitization of ICH in the era of disruption through the utilization of social media as a strategy for cultural preservation and education in elementary schools in Sumenep District, Indonesia. Employing a mixed-methods approach, the research involved 187 elementary students through structured surveys and 17 key informants through in-depth interviews. Quantitative data were processed using SPSS, while qualitative data were thematically coded and interpreted. The findings demonstrate that while students possess a general understanding of ICH, conceptual depth remains uneven, particularly regarding ICH's philosophical, spatial, and identity dimensions. Social media platforms—primarily YouTube, TikTok, and Instagram, play a pivotal role in enhancing students’ engagement with cultural content, especially when the content is presented in visual-textual formats. Both teachers and students reported significant positive impacts, including improved cultural awareness, creativity, and appreciation for national identity. However, minor negative implications were also noted, such as distraction and misinformation. The study confirms that social media, when strategically integrated into pedagogy, enhances access to ICH knowledge and fosters cultural resilience among younger generations. In conclusion, the integration of digital platforms into cultural education constitutes an effective mechanism for preserving ICH and cultivating intergenerational cultural continuity in the digital age.

The paper explores how to build a bridge between intangible cultural heritage and popular culture, enabling the dissemination of intangible cultural heritage in a more trendy and fashionable way. As a crucial carrier of human civilization, the protection and transmission of intangible cultural heritage hold multidimensional profound values. Firstly, intangible cultural heritage serves as a gene pool of human civilization, preserving collective ethnic memory and sustaining cultural diversity. Secondly, as a new quality productive force, it can boost consumption and be contributed to promote economic growth. Finally, intangible cultural heritage provides cultural identity in modernization. However, the transmission of intangible cultural heritage (ICH) faces critical bottlenecks. The issues mainly focus on the rigidity of communication channels, the lack of novelty in narrative methods, and intangible cultural heritage media narrative carrier "rejuvenation". How to address these challenges through modern approaches and identify synergies between intangible cultural heritage and popular culture is pivotal for achieving sustainable ICH development. The introduction of traditional embroidery examples to propose the concept of IP and establish a complete IP industry chain represents a crucial step in integrating intangible cultural heritage into modern life.