In your curatorial process, you have already clarified the core direction of the exhibition, which is to focus on China’s marginalised intangible cultural heritage and to increase the attention paid to these cultural forms by enhancing interactivity and audience participation. This curatorial approach is very valuable, especially in the current context, where many intangible cultural heritages are facing the risk of being lost. Your curatorial plan focuses on China’s marginalised intangible cultural heritage and enhances its attention through interaction. However, it is necessary to be vigilant about whether the exhibition inadvertently reproduces fixed cultural definitions. First, is the dynamic nature of intangible cultural heritage truly reflected? How can community members become the subject of the curation rather than passive objects of display? In addition, the definition of ‘marginalised’ needs to be refined to avoid stereotypes. The curator’s dominance can be broken, and inheritors of intangible cultural heritage can be involved in deciding the content of the exhibition together. A discussion area can be set up to explore the different perspectives of state recognition and folk intangible cultural heritage and promote in-depth audience participation. You can also draw on some exhibitions on intangible cultural heritage that have received positive feedback or that have inspired you to shape your personal curation plan.

Peer Review–For Ying Duan / Yilin Cong / Curating (2024-2025)[SEM2] by is licensed under a