Filming music as heritage

Barley Norton
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Abstract

A burgeoning body of scholarship has critically evaluated heritage discourse and UNESCO’s 2003 Convention on Intangible Cultural Heritage. Ethnographic studies have also begun to assess the impact of policies aimed at safeguarding intangible cultural heritage (ICH) on music practices and communities. Audiovisual representations of ICH, however, have received little scholarly attention. This chapter reflects on how film intersects with the heritagization of music traditions, focusing on the official videos submitted by state parties as part of the process of nominating elements for inscription on UNESCO’s ICH Lists. As a case study, it considers the Vi and Giặm folk song tradition from the Vietnamese provinces of Ha Tĩnh and Nghệ An, which was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2014. Drawing on a research trip to Vietnam in 2013, the chapter unpacks the complex issues involved in the audiovisual representation of intangible cultural heritage and problematizes the notion that film is a neutral form of documentation. Through a comparison of the official video about Vi and Giặm folk songs submitted to UNESCO and a television broadcast of a large-scale staged show featuring performances of folk song and dance, it is emphasized that films are historically situated cultural artifacts with the potential to affect how music heritage is perceived and practiced.
将音乐作为遗产拍摄
一个新兴的学术团体对遗产话语和联合国教科文组织2003年非物质文化遗产公约进行了批判性的评估。民族志研究也开始评估旨在保护非物质文化遗产(ICH)的政策对音乐实践和社区的影响。然而,非物质文化遗产的视听表现很少受到学术界的关注。本章反映了电影如何与音乐传统的传承相交叉,重点关注缔约国提交的官方视频,这些视频是提名列入联合国教科文组织非物质文化遗产名录过程的一部分。作为案例研究,它考虑了越南河Tĩnh省和壮安省的Vi和Giặm民歌传统,这些传统于2014年被列入联合国教科文组织人类非物质文化遗产代表名录。在2013年的越南研究之旅中,本章揭示了非物质文化遗产的视听表现所涉及的复杂问题,并对电影是一种中立的记录形式的概念提出了质疑。通过对提交给联合国教科文组织的关于《Vi》和Giặm民歌的官方视频与一场以民歌和舞蹈表演为特色的大型舞台表演的电视转播进行比较,本文强调,电影是历史上的文化文物,具有影响音乐遗产如何被感知和实践的潜力。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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