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As a UNESCO World Heritage Site, the Grand Canal of China has a rich intangible cultural heritage along its route. The intangible cultural heritage of folk songs is an important representative. The study of its distribution characteristics and influencing factors is of practical and social significance for promoting the protection and development of intangible cultural heritage in relevant areas and the construction of the Grand Canal Cultural Belt. This paper uses the theories of musicology, geography, sociology, data statistical analysis and spatial analysis to analyze the distribution pattern of intangible cultural heritage items in the Grand Canal basin from the dimensions of geographical space and folk song genre, and from the perspective of natural and social conditions. The results show that the spatial distribution of folk songs in the Grand Canal basin shows a trend of "distribution along the river, two cores and two belts". Water system, landform and regional culture are the main influencing factors for the formation and dissemination of intangible cultural heritage of folk songs. At the same time, compared with the mountainous areas in western China, the economic and social development and frequent population flow in the Grand Canal basin lead to the diversified and unified musical culture characteristics of folk songs. Finally, this paper proposes the suggestions that the folk songs should be integrated into the local social and economic activities. [ABSTRACT FROM AUTHOR]

This paper explores the importance of ethnographic approaches to cultural documentation and corresponding preservation processes, and in enhancing inclusivity and 'representational belonging' of diverse communities and cultures in the archival context. Specifically, we trace past and present efforts of folklorists, archivists, and librarians at the American Folklife Center in the Library of Congress, to increase representation in and access to the Center's archives and related programming. As a cultural heritage institution at the national level, and home to one of the largest ethnographic archives in the world, we examine how enriching representation is at heart about ethical and equitable recognition, inclusion, and uplifting of diverse voices, firsthand experiences and stories, particularly those of marginalised communities and groups, as shared in their words and on their terms. We conclude with a new initiative dedicated to advancing community control of and self-representation in ethnographic research, documentation, and archival projects, including the Center's archives. Our discussions aim to align with broader movements to decolonise heritage institutions, their collections, and practice, especially at the national level. [ABSTRACT FROM AUTHOR]

The article "Boundaries and Transgressions in the Anthropocene: Intangible Cultural Heritage as a Case Study" examines the significance of Intangible Cultural Heritage for education, learning, and socialization. In the Anthropocene, where humans play a crucial role in the fate of the planet, it is important to engage with nature and culture as a shared heritage of humanity. Intangible Cultural Heritage can make an important contribution to the development of global citizenship. The five areas of the UNESCO Convention on Intangible Cultural Heritage are of great importance: oral traditions and expressions, music, body language, performing arts, customs, festivals, rituals throughout the year, humans and nature, craftsmanship. UNESCO is committed to preserving these works and practices and using them for intercultural dialogues and global partnerships to safeguard cultural diversity and develop global citizenship. [Extracted from the article]

Over the last few decades (especially since 1970s) international folklore festivals across the globe have been showcasing, promoting, publicizing and safeguarding traditional cultures (specifically dance, music and art) from different parts of the world. Prominently, UNESCO (United Nations Educational, Scientific and Cultural Organization) supported organizations such as CIOFF (International Council of Organizations of Folklore Festivals and Folk Art), IOV (International Organisation of Folk Art) and CID (International Dance Council) has been focused in terms of the promotion and protection of folk and cultural heritage. A significant number of these international folklore festivals are organized by various cities, towns and villages across the world, for example, Festival Les Cultures du Monde in Gannat, France, Parade Brunssum in Brunssum, Netherlands, Mondial Des Cultures in Drummondville, Canada and WOMAD in Adelaide, Australia. On an average ten to twenty folk music and dance groups are invited from various parts of the world to participate in these festivals that run for several days/weeks, thereby not only providing an opportunity to the groups to showcase their culture, but also, to mingle with other folk groups and local people. Utilising first hand interviews with the organizers of the festival, folk group members and volunteers conducted during the 39th edition of Les Cultures du Monde - the international folklore festival of Gannat in France 2012, this research paper will examine, how the Gannat festival has become a venue for celebrating cultural diversity and in what ways it attempts to promote and safeguard the intangible cultural heritage. [ABSTRACT FROM AUTHOR]