Search Results (2)

Drama-related intangible cultural heritage is rich in connotations, and the development of tourism value of drama-related intangible cultural heritage can promote the service industry and boost the development of green economy. Using panel data of 31 provinces, municipalities directly under the central government and autonomous regions in China from 2000 to 2019, this paper empirically analyzed the global picture of the effectiveness of sustainable policies for drama-related intangible cultural heritage tourism through the double difference method of quasi-natural experiment, then analyzed the different performance of policies among regions with different geographical characteristics, and finally analyzed the patterns of four batches of policies in time sequentially in multiple periods. The results found that sustainable policies for drama-related intangible cultural heritage tourism can promote the development of green service industries. These policies can promote the service industry in areas with a relatively backward economy, a single industrial sector, and a low degree of openness, but with outstanding ethnic characteristics, and can effectively promote rural revitalization. Besides, these policies first promote the growth rate of the green service industry, and the effectiveness of the policies has a certain time lag. As the effect of the policies accumulates, the growth rate of the green service industry slows down, the scale benefits appear, and the proportion of the industry is obviously increased. Full article

In order to protect the traditional performing arts, we need to analyze the factors that sustain its inheritance and development. Some of the factors are embedded in the place. This paper takes Beijing Crosstalk as an example to explore its relationship with the place Beijing. The authors interviewed and surveyed the crosstalk performers, and analyzed data of crosstalk performers from the Sina Weibo social media platform. The study found that Beijing crosstalk can be particularly successful because there are three levels of social networks embedded in Beijing: The first is the mentor–apprentice relationship within the crosstalk group. The second is communication with other performing groups or performers (such as other crosstalk groups, performers from opera, drama, etc.) in Beijing. The third is their cooperating relationship with the media. These three networks are not available in any other cities of China, which is the key to the inheritance and development of Beijing crosstalk as intangible cultural heritage. Therefore, the protection and transmission of local intangible cultural heritage needs not only to protect the intangible cultural heritage itself, but also to protect its related social networks and social resources that make up such networks. Full article