Introduction
The United Nations Educational, Scientific and Cultural Organisation (UNESCO) 2003 Convention for the Safeguarding of the Intangible Cultural Heritage of Humanity (hereafter the 2003 Convention) has been operational in China for almost 20 years and intangible cultural heritage (ICH), or what is domestically known as 非遺 (feiyi), has become a well-known and established concept. Many elements have been identified, inventories compiled, and legal texts devised, and the ICH concept has found much resonance in the media, among officials, the general public, and particularly among cultural practitioners (Chang 2017; Gao 2017). Along with the nationwide rise and spread of ICH, a vast number of exhibition premises have emerged across the country that specialise in the display, performance, and transmission of ICH. These entities have become an important and integral part of China’s heritage landscape, serving as spaces through which cultural practices and expressions designated...