IN-PERSON London Heritages. Section B

Abstract

The article follows the development of Yangjiabu woodblock prints from their discovery in the early 1900s to their current state, exploring how visual ethnography and this art form overlap. Yangjiabu woodblock prints were designated as an ‘Intangible Cultural Heritage’ in 2006, a critical turning point that allowed visual studies in ethnography and multidisciplinary research. Along with tangible and intangible cultural legacy, this article delves into the significance of Yangjiabu prints as a material representation of cultural identity, which includes intangible aspects such as crafts, symbolism, and intangible talents. Besides, The article also discusses the sense of belonging in collective memory with case studies, emphasising the role of intangible cultural heritage in promoting community identity and continuity. Using Yangjiabu woodblock prints as an example; the article argues that visual ethnography plays a significant role in understanding the intricate web of connections between artistry, culture, and social significance in these enduring art forms. A critical introspective approach is emphasised, while cultural techniques like exoticization and essentialization are acknowledged for their possible limits. Also touched is how theoretical frameworks like cultural diamonds and thick descriptions enhance our comprehension of the intricacies surrounding the creation and consumption of folk art. Lastly, the study describes a method framework I will use that uses archival materials, surveys and interviews of Generation Z consumers, and semi-structured interviews with producers. Within the context of intangible cultural heritage, I think this study adds to our knowledge of the social relevance and cultural importance of Yangjiabu woodblock prints by using interdisciplinary and methodologically rigorous methods.