‘Community’ as a landscape of Intangible Cultural Heritage: Basho-fu of Kijoka, a Japanese example of traditional woven textile and its Relationship with the Public
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This article explores the concept of ‘community’ as a particular place that engages with‘self’ and ‘other’ in safeguarding Intangible Cultural Heritage. By observing a scheme piloted by the Japanese government to promote traditional craft industries, I show how a cultural form and its practitioners are attached to a particular place whereby the government’s authorship of ‘traditional craft products’ invites outside evaluation and consumption thereof. The case study of a traditional woven textile, Kijoka-no-Basho-fu, produced in Okinawa Prefecture, suggests that ‘community’ allows practitioners to embody the time-space configuration of their work and frames the public perception of this work as ‘tradition’. It is a site where one recognises one’s self through one’s experience of outside values and social change.
Abstract
This article explores the concept of ‘community’ as a particular place that engages with‘self’ and ‘other’ in safeguarding Intangible Cultural Heritage. By observing a scheme piloted by the Japanese government to promote traditional craft industries, I show how a cultural form and its practitioners are attached to a particular place whereby the government’s authorship of ‘traditional craft products’ invites outside evaluation and consumption thereof. The case study of a traditional woven textile, Kijoka-no-Basho-fu, produced in Okinawa Prefecture, suggests that ‘community’ allows practitioners to embody the time-space configuration of their work and frames the public perception of this work as ‘tradition’. It is a site where one recognises one’s self through one’s experience of outside values and social change.