甘南藏族自治州非物质文化遗产旅游开发路径探析

非物质文化遗产的旅游开发是当前我国民族学、民俗学、旅游学等学科研究的热点问题。本文以甘南藏族自治州为研究对象，在分析了甘南州非物质文化遗产特征的基础上，探讨了甘南州非物质文化遗产的旅游价值，认为通过动态与静态相结合、针对不同类型采用不同开发模式以及保护性开发等路径对于当地非物质文化遗产的保护及旅游发展都有积极的现实意义。     

黎族非物质文化遗产保护与开发的意义

国家高度重视文化建设，通过对非物质文化遗产摸底、整理，进一步推动文化建设相关工作的开展。黎族非物质文化遗产的抢救、保护和发展是加快黎族地区新农村文化的核心内容，对建设海南国际旅游岛有着积极的促进作用。本文阐述了黎族非物质文化遗产保护与开发的意义。     

关于非物质文化遗产保护的理论思考

非物质文化遗产这一名词已经被人们所熟知，但是更深层次的理解确实少之又少。本文从非物质文化遗产的概念及类别出发，阐述了它的特点，并分析了保护非物质文化遗产应该遵循的原则。     

旅游规划中的非物质文化遗产保护——以新疆喀什地区旅游规划为例

2003年，联合国教科文组织通过的《保护非物质文化遗产公约》指出，非物质文化遗产包括：口头传说和表述，表演艺术，社会风俗、礼仪、节庆，有关自然界和宇宙的知识和实践，传统的手工艺技能。我国于2004年正式加入《保护非物质文化遗产公约》，并对非物质文化遗产的定义在公约的基础上补充了“文化空间”，     

基于非物质文化技艺浅谈设计类专业与校园公共艺术的融合

为了传承与弘扬本地非物质文化遗产，在政府相关部门的重视下，地方非物质文化技艺逐渐走进学校，成为中职学校公共艺术类课程。为了让设计类专业的办学符合地方行业、产业对人才的需求，中职学校越来越重视对接当地地方艺术类特色产业，尤其注重非物质文化遗产（技艺）的传承与创新，越来越多的中职学校开设了以地方非物质文化遗产（技艺）传承与创新的特色专业。因此，本文提出，基于非物质文化技艺的传承与创新研究，搞好校园公共艺术与设计专业的融合研究，在中职学校就显得格外重要。     

非物质文化遗产旅游产品化转型模式对比分析

非物质文化遗产和旅游之间有着密切关系,完全可以通过合理开发,实现遗产保护与传承、旅游体验与收益的双赢。本文分析了非物质文化遗产和现代旅游活动的关系,分析了六种非物质文化遗产旅游产品化转型模式的优劣,最后提出了非物质文化遗产旅游产品化转型中需要注意的问题。     

上海非物质文化遗产的保护与旅游开发

非物质文化遗产被誉为＂人类精神的家园＂,应该加以珍视。在保护的基础上,非物质文化遗产可以进行适当旅游开发。本文以大都市上海为背景,廓清了非物质文化遗产的特色、优势、作用、影响,以使非物质文化遗产重新走入大众视野,焕发出盎然生机,实现非物质文化遗产保护与旅游开发的＂双赢＂。     

非物质文化遗产旅游区域协同研究 ——以京津冀为例

非物质文化遗产与旅游融合是促进非物质文化遗产保护和发展的重要举措,非物质文化遗产的地区关联性特征使非物质文化遗产旅游区域协同发展效果更佳.笔者以京津冀地区为研究对象,从内生和外生两个方面对非物质文化遗产旅游区域协同的动力机制进行阐释,对京津冀非物质文化遗产结构特征和协同发展现状进行分析,基于非物质文化遗产旅游区域协同价值解构,提出京津冀非物质文化遗产旅游区域协同发展建议,以期促进京津冀非物质文化遗产旅游纵深融合发展.     

浅谈廊坊市非物质文化遗产保护方略

廊坊市非物质文化遗产资源丰富,在全面构建文化强市战略和建设幸福乡村战略的背景下,充分挖掘非物质文化遗产的引领作用,加快文化发展方式转变,具有重要意义。针对廊坊市非物质文化遗产保护问题,分析了廊坊市非物质文化遗产保护现状,阐明了廊坊市非物质文化遗产保护的重要意义,提出了廊坊市非物质文化遗产的保护方略。     

在青砖上镂刻老北京温情

北京砖雕带有浓厚的皇家官式风格，雄浑大气、构图饱满。砖雕多以花草、瑞兽等形象寓意荣华富贵、长寿、多子多福等。砖雕大多应用在四合院、王府、戏楼、寺庙和祠堂中，其中四合院是北京的灵魂，而砖雕又是四合院的灵魂。这种独特的传统工艺于2009年入选北京市级非物质文化遗产保护名录。     

“枫香染”——画在布上的青花瓷

枫香染是贵州省惠水县布依族的传统印染工艺,用毛笔蘸枫香油作画,线条流畅、细腻,花纹雅致古朴,近年如工笔画,远观似青花瓷。如今,这项传统工艺在非遗传承人冉光津的努力下,被赋予了新的生命力。     

橡皮章：我的手工时间

印章是一门古老的艺术，作为普通人很难掌握刻石头或者木头的技术，而橡皮章不但操作方便，而且制作过程简单。橡皮章制作最早流行于日本、韩国，随后传至台湾，近来在内地已经逐渐由小众娱乐演变为一门大众的艺术。而无处不在的”刻友”们，骄傲地自称”橡皮人’，体会着雕刻的乐趣。     

小小娟人唱响大舞台

北京绢人，从头到脚都采用了中国丝绸、娟纱，人物的脸型、服饰和动作表情，充分体现出中国风貌。由于人形的主要原料是彩娟，因此人们称其为“北京娟人”。这一颇具特色的传统手工艺已入选北京高级非物质文化遗产名录。     

China’s modern image – contemporary Chinese art

Abstract

As a worldwide cultural phenomenon, contemporary art in China has not only been used as a diplomatic language but also a reflection of contemporary Chinese culture. Contemporary Chinese art, as an emerging field to display China’s global role, provides an important perspective to study China’s self-position in global relations, China’s diplomacy in exercising its soft power, contemporary Chinese culture, and the reinvention of China’s cultural/national identity in post-Mao China. Using the 2000 Shanghai Biennale and the Chinese pavilion at the 54th Venice Biennale as case studies, this article investigates how the fluid construct of Chineseness is successfully promoted and demonstrated through the government’s support of contemporary Chinese art.     

身心兼修的太极文化

太极拳是中国传统武术中的一种，它的每一个动作圆柔连贯，每一式都是绵绵不断，犹如太极图一样。这种融健身与修身养生于一本的运动蕴含着丰富的中国传统哲学思想和伦理观念。太极拳不仅仅是一种拳术，它更是一种文化，是力与美的艺术结合。     

Biotech aesthetics: Exploring the practice of bio art

Advances in biotechnology include contemporary artists working in laboratories to create living and semi-living works of art. This paper offers an account of how bio art can be read as an emerging contemporary art practice of the early twenty-first century. This draws on the art-historical precedent of Marcel Duchamp, who transformed objects from commonplace existence into works of art, and contemporary theories of art. Empirical data, in the form of interviews with leading bio art practitioners Oron Catts, Eduardo Kac, Kira O'Reilly, Stelarc and Paul Vanouse, are used to study how artists navigate between disciplines. In doing so, we discuss bio art as a critical practice based on a communal ethos.     

What does children's art work tell us about gender?

If art is an authentic expression of the self, a sociologist should be able to examine children's art work to see what effect various social agents have had on gender socialization. Inferences could be made from the art work about the socialization process. In this study, the authors examined children's art work to investigate the implicit sex role perceptions of children. The population included 110 students between the ages of nine and 12 in three elementary schools in Texas. 126 pieces of art were examined and 500 independent ratings were made. Results of the study indicated that the content and form of children's art work differ significantly by sex. A gender role perspective was used to explain the pattern.     

Power,capital, and artistic freedom: contemporary Chinese art communities and the city

This paper offers a critical review of the proliferation of the contemporary art colony in China since the beginning of the twenty-first century in the context of China's promotion of cultural creative industries as one of the strategies for urban development and economic growth. Through analyzing cases in Beijing, Xi’an, and Sanya, cities ranging from ‘first-tier’ to ‘third-tier’ in their size and status, the paper explores the challenges and opportunities many contemporary Chinese art professionals find themselves face amid the competitive city image building campaign, a top-down movement led by local state and private investors in cities across China. It is evident that contemporary art and alternative art spaces associated with it have been drawn into the process of commodification, inadvertently recruited to play an ancillary role in the reproduction of the hegemonic collusion between political power and capitalism in a rapidly urbanizing China. Nonetheless, I argue that the inclusion of contemporary art communities as a player in the production and reproduction of the urban space has provided critical-minded artists, critics, and curators opportunities to participate in the reconfiguration of the physical and cultural landscape of Chinese cities, albeit not always with positive outcomes. As such, some art professionals are able to appropriate the process of capitalist urbanization to create their own ‘infrastructures of resonance’ [Thompson 2015. Seeing Power: Art and Activism in the Twenty-first Century. Brooklyn: Melville House], which support artistic freedom and facilitate the growth of diverse forms of cultural creation and exchange despite the coming dominance of ‘power plus capital’ [X. Wang 2003. A Manifesto for Cultural Studies. In: C. Wang, ed. One China, many paths. London: Verso, 274–291].     

Aesthetics of disaster as decolonial aesthetics: making sense of the effects of Hurricane María through Puerto Rican contemporary art

ABSTRACT

On 20 September 2017, Hurricane María made landfall on Puerto Rico causing unprecedented disaster. From that day onwards, the Puerto Rican multi-layered colonial, social and political context was further complicated by the traumatic acceleration of a human disaster via this natural disaster. This crystalized the urgency of using art as vehicle for (social) catharsis, a practice that continues to be used by individual artists, collectives, community organizations, art projects, and other art institutions on the island and abroad, through mural art, community paintings, art exhibitions, literature, music, and many other aesthetic expressions. This article examines, from a decolonial and critical cultural studies perspective, post-Hurricane María artistic expressions in contemporary art as decolonial aesthetics through the cathartic use of the frame of an aesthetics of disaster. It is argued that, an aesthetics of disaster aims to re-assert an artistic form that is able to accelerate the discursive nullification of a deeply rooted colonial, social and cultural problem by way of art as catharsis inspired by the way that Hurricane María unveiled these problems. The piece briefly contextualizes Puerto Rico, and it examines the idea of Puerto Rican contemporary art as catharsis. Then, it describes how Puerto Rican contemporary art exhibitions and associated aesthetic production are processing urgent post-hurricane issues through three illustrative pieces in exhibitions in PR and abroad in the United States (US). Lastly, decolonial aesthetics is reexamined and re-understood, informed by Édouard Glissant's view expressed in Poetics of Relation which aids to the conclusion that Puerto Rican contemporary art using the frame of an aesthetics of disaster functions as a powerful form of decolonial aesthetics.     

“沙画女孩”的追梦路

1988年出生的杨华在河南省焦作市武陟县城小有名气，因为她创办了全县第一个沙画工作室，被人们亲切地称为“沙画女孩”。