XIAOXUE LI^1,#, KENING FU^1,#,*, LINHAN SUI².

1, Northeastern University at Qinhuangdao School of Ethnology, Northeastern University at Qinhuangdao, Qinhuangdao 066003, China.

2, Liaoning Normal University of Chinese history, Liaoning Normal University, Dalian 116082, China.

1234569@imut.edu.cn

#: Co-first author

Abstract

Purpose: This research investigates cultural evolution and examines the shifts over time in Daur “Uqun” oral tradition, measuring the effectiveness of its digital transmission to provide insights regarding the preservation of intangible cultural heritage. Methods: A historical analysis combined with a field study and a quantitative evaluation within a defined timeframe (1900-2025) formed a single case study using mixed methodology. Analysis of historical data included 52 documents, 25 interviews, and surveys collected from 189 respondents from four Daur communities. Using a multidimensional index, Principal Component Analysis along with multiple regression analysis were used to measure transmission effectiveness. Findings: From this study, three evolution transformation dimensions emerged: performance context scope evolution from community setting to virtual spaces, transmission changes from apprenticeship to digital transmission, adaptation of structure from fluid narratives to multimedia. Digital transmission, although broadened reach, only attains 42% of traditional depth of transmission. The linguistic environment (β=0.42) and community participation (β=0.37) emerged as the strongest predictors of transmission effectiveness. Conclusion: Oral traditions as dynamic cultural systems exhibit culture’s adaptive capacity. Models integrating modes of transmission traditionally or digitally proposed by authentic frameworks demonstrate more effectiveness as described. Practical Implications: Effective preservation of culture in the digital domain can occur through the integration of technology into vibrant socio-cultural ecosystems. Most importantly, policymakers should focus on approaches that involve the community, equitable allocation of resources, and integrated models that preserve minority cultural heritage through innovation while accommodating social and cultural needs.

Keywords: oral tradition, digital transmission, intangible cultural heritage, Daur culture, cultural preservation, hybrid models, quantitative analysis

1. Introduction

The Daur people, an ethnic minority from Mongolia and the Heilongjiang Province of China, are well-known to have rich cultural heritages such as the “Uqun” oral literature which transliterates to folk songs [1]. “Uqun” is a type of artistic expression which integrates singing and storytelling and serves as a vivid account of the Daur’s production and lifestyle and has been passed down orally for centuries. In 2006, “Uqun” was recognized as an intangible cultural heritage on the national level in China which illustrates the social and cultural adaptation of the Daur people and their resilience and relevance throughout contemporary societal changes [2].

Equipped with the internet, the modern world provides great potential and challenges to traditional oral performances. Outdated forms of art are quickly losing popularity due to the expansion of the internet and contemporary age entertainment, which leads to a break in generational transmission of the art “Uqun” [3]. Although the mediums through which cultures have been preserved traditionally are undergoing drastic redesign, new technologies can still be put to use to preserve culture [4]. This process forces “Uqun” to adapt in different ways, triggering profound contemplation on how “Uqun” has transformed through time and how well it is being passed down currently during advanced technological times.

The examination of Daur culture has been advancing in the last few years, particularly with respect to their traditions. Qu [5] studied the shamanic practices of the Daur, emphasizing the links between spirituality and performance customs. Yet, holistic accounts of the history and change of “Uqun” performance art and quantitative evaluations of its transmission effectiveness are still rather scarce. This gap is crucial at a time when the digital preservation of culture is gaining prominence as a strategy for safeguarding cultural heritage globally [6].

The methods used for digitally preserving intangible cultural heritage have advanced from simple audiovisual recording and now include virtual reality [7]. According to Skublewska-Paszkowska et al. [8], 3D technologies offer a means for preserving the embodied skills shaped within performance cultures. In a case study on Cantonese opera, Chung [9] showcased how digital technologies could serve as effective transmission strategies for intangible cultural heritage, thus shedding light on comparable traditions such as “Uqun.”

The conveying of oral traditions consists of intricate processes for transmitting a sociocultural value system from one generation to another [10]. The advent of digital technologies has offered new routes for this form of transmission along with new ways of changing cultural knowledge from tacit to explicit forms [11]. These methods, especially when applied to minority cultural traditions, still lack advanced quantitative evaluation frameworks. More recent methodologies for data analytics present positive possibilities, as showcased by Xu et al. [12] who analysed contemporary values of intangible cultural heritage through online review mining.

This research seeks to explore the evolution of Daur “Uqun’s” history from oral tradition to digital format and quantitatively assess how effectively it has been transmitted in the context of contemporary digitization. This work advances the theory and practice of preserving oral traditions in study by building a model of historical transformation with quantitative assessment criteria and developing preservation strategies within a digitally modified context. The results will be crucial to those in authority, cultural organizations, and communities aiming to protect their intangible cultural heritage in the face of rapid technological shifts.

2. Research Methodology

2.1 Research Design and Framework

This study applies a mixed methods approach to analyse in detail the history change and transmission effectiveness of Daur “Uqun” performance art. The research design combines historical analysis, field study, and quantitative evaluation through a sequential exploratory design. This design first explores the history and key variables qualitatively and then measures transmission effectiveness quantitatively [13]. The study focuses on three defined chronological periods: traditional society (1900-1949), modern transition (1950-1999), and digital era (2000-2025), which allows systematic time-based comparison on “Uqun” transmission.

Illustrated in Figure 1, the research framework combines three methodological components and spans across three historical periods. This layered framework approach allows comprehensive analysis on the “Uqun” performances historical evolution and contemporary transmission effectiveness.

Figure 1. Research Framework for Analyzing Daur “Uqun” Transformation and Transmission

2.2 Data Collection Methods

Multiple data collection methods were employed to ensure comprehensive coverage of both historical and contemporary aspects of “Uqun” performance art. Historical document analysis included examination of archival records, historical photographs, performance records, and previously published research on Daur oral traditions. Primary materials were collected from cultural institutions in Inner Mongolia Autonomous Region and Heilongjiang Province, with a focus on documents from the Morin Dawa Daur Autonomous Banner Cultural Center and Qiqihar City Archives.

Field research was conducted between July 2024 and March 2025 in four Daur communities: Morin Dawa Daur Autonomous Banner, Ewenki Autonomous Banner’s Bayantala Daur Ethnic Township, Meilisi Daur District in Qiqihar, and Tacheng in Xinjiang. Semi-structured interviews were conducted with 25 participants, including 8 recognized “Uqun” inheritors, 10 Daur community members of various ages, and 7 cultural preservation officials. Participant observation of “Uqun” performances in both traditional settings and formal stage contexts complemented the interview data. All field research adhered to ethical guidelines, with informed consent obtained from all participants.

The quantitative component consisted of a survey administered to 189 respondents across the four research sites. The sampling strategy employed a stratified approach to ensure appropriate representation across age groups, gender, and geographic locations, though actual distribution was influenced by field conditions and accessibility. Table 1 summarizes the data collection methods and sample characteristics.

Table 1. Summary of Data Collection Methods and Sample Characteristics

Method	Sample Size	Sample Characteristics	Purpose
Document Analysis	52 documents	Archival records (19), Performance documentation (16), Research publications (17)	Trace historical transformation of “Uqun” forms and content
Interviews	25 participants	Inheritors (8), Community members (10), Officials (7)	Gather perspectives on transmission practices and challenges
Participant Observation	12 performances	Traditional settings (5), Stage performances (7)	Document performance characteristics and audience engagement
Survey	189 respondents	Geographic distribution: Morin Dawa (62), Bayantala (47), Meilisi (53), Tacheng (27) Age: 18-35 (63), 36-55 (67), 56+ (59) Gender: Male (94), Female (95)	Assess transmission effectiveness quantitatively

2.3 Analytical Approaches

The analytical strategy combined qualitative content analysis with quantitative statistical methods. Using thematic content analysis, the interviews and historical documents were scrutinized to highlight performance traits, transmission mechanisms, and contextually relevant factors across various eras. This particular analytic endeavour aimed to reconstruct Uqun performance themes pertaining to its traditional to digital metamorphosis.

In addition, a transmission effectiveness index was created for quantitative evaluation based on three dimensions: breadth of transmission (geographic distribution, population coverage, social impact), depth of transmission (content mastery, skill proficiency, innovation capacity), and sustainability of transmission (age structure, generational transfer, development potential). This approach aligns with the configurational approach put forth by Ye et al. [14] for the deriving analysis of digitally adopted forms of intangible cultural heritages.

Data from surveys was processed using descriptive metrics, comparative analysis, as well as other methods of multivariate statistics. Key factors determining transmission effectiveness were identified using PCA, in which transmission outcomes and effectiveness were examined by multiple regression analysis. For the statistical evaluation, SPSS 28.0 and R 4.2.2 were utilized and p < 0.05 was considered statistically significant.

The research sites were scrutinized for the efforts toward digitization using spatial analysis techniques. Spatial patterns of ‘Uqun’ preservation projects were mapped out using GIS methodology as described by Zhang et al. [15]. Different transmission modalities were assessed with comparative analysis employing radar chart visualizations alongside multi-dimensional frameworks.

Validity and reliability were achieved through cross-verification within various methodological components using methodological triangulation, whereby in this case, different methodologies were mixed and within each methodology, there was rigor. The qualitative aspects along with quantitative data brought forth insights that led to the interpretation of the processes of cultural change without losing academic rigor.

3. Historical Transformation of Daur “Uqun”: From Oral Tradition to Digital Stage

3.1 The Traditional Phase (1900-1949): Performance in Cultural Context

In the first half of the 20th century, “Uqun” (also spelled as “Uchin” or “Wuchin” in some literature) served as an oral and community-based genre of the Daur culture. During this time, performances were best characterized by ritualistic and familial gatherings, and as such, were performed almost exclusively within small groups. Additionally, there was little to no technological mediation.

In Daur traditional society, “Uqun” performances also served many roles aside from amusement. The performances acted as a storehouse of social knowledge, memory, and identity, as well as timeless history. Through ethnographic work, it was noted that these performances took place in the domestic space and village gatherings, especially during the long agricultural off-season in winter – this was the preferred timing for the Daur people, who invested most of their time farming, hunting, and fishing around the Nenjiang River region.

Document analysis and interviews with elder inheritors reveal that traditional “Uqun” performances had specific distinctive features during this period. Performances relied heavily on an oral-formulaic structure where synthesisation and creativity guided oral narration through familiar formulas, enabling performers to reconstruct instead of reciting pre-determined narratives. During this period, fluidity of performance was evident. A great deal of change occurred from one performance to the next, showcasing tailored content for different audiences and occasions. This form of cultural learning was apprenticed, allowing gradual participation alongside older peers by observing skilled peers. Furthermore, the performances also showcased contextual integration as they were situated within wider culture, which included not only seasonal celebrations but also shamanic rituals and family ceremonies. Based on document analysis and interviews with elder inheritors, Table 2 presents the key characteristics of ‘Uqun’ performances during the traditional period.

Table 2. Performance Characteristics During the Traditional Period

Performance Element	Characteristics in Traditional Period (1900-1949)
Performance Settings	Domestic spaces, village gatherings, seasonal celebrations
Performer Demographics	Primarily elder community members, family lineage transmission
Content Focus	Historical narratives, moral teachings, practical knowledge
Musical Accompaniment	Limited traditional instruments (primarily mukulian)
Audience Participation	High engagement, interactive responses, communal experience
Learning Method	Observation-based apprenticeship, oral instruction
Geographic Distribution	Concentrated in Morin Dawa, Bayantala, and Meilisi regions
Documentation	Minimal written documentation, primarily oral preservation

The traditional period established foundational performance practices that would later evolve with changing social conditions. Importantly, the social function of “Uqun” during this era extended beyond entertainment to include identity reinforcement, cultural education, and the preservation of historical knowledge through embodied practice.

3.2 The Modern Transition Phase (1950-1999): Institutionalization and Adaptation

The mid-20th century brought significant changes to “Uqun” practices as China underwent rapid political, economic, and cultural transformations. This period marked a transition from purely community-based performance to increasingly formalized and institutionalized practices, as documented through archival records and interviews with cultural officials and inheritors.

Following the establishment of the People’s Republic of China in 1949, traditional ethnic arts experienced both challenges and opportunities. “Uqun” performance became subject to new forms of cultural governance, with the establishment of the Morin Dawa Daur Autonomous Banner in 1958 creating an institutional framework for cultural preservation. This period witnessed a significant shift in the performance context, content, and transmission mechanisms of “Uqun” art.

The key changes occurred during this time that when performance spaces became cultural centers, schools, and public festivals, performances began moving out of the domestic space. Efforts to document and codify “Uqun” narratives led to more uniform scripted performances at the expense of traditional improvisational qualities, thus standardization of content took place. As local cultural and educational institutions began to identify, cultivate, and promote ‘Uqun’ successors, a form of institutional transmission emerged. Moreover, the first systematic archive of ‘Uqun’ materials emerging performed audio-recording technologies documenting culturally performed materials was compiled, enabling the rudimentary archived construction of ‘Uqun’ resources.

Field research indicates a widespread decline in ‘Uqun’ performance during the Cultural Revolution from 1966 to 1976, with a considerable portion of the populace stopping their public displays. Private forms of this tradition endured and experienced a revival in the late 1980s after an increase in policies that embraced regional cultural activities. During this era, initial efforts to develop stage presentation structures for ‘Uqun’ to be performed by non-Daur audiences were also attempted. Analysis of the quantitative metrics reveals that the performer composition underwent a substantial shift during this timeframe. Whereas traditional performers were mostly elderly individuals with strong ties to the community, the modern transition period appeared to feature a growing share of middle-aged performers with stronger connections to formal cultural institutions. The demographic change has been depicted in Figure 2 for the three historical periods.

Source: Analysis of historical records and interview data with cultural officials and inheritors (n=25)

Figure 2. Demographic Shift in “Uqun” Performers Across Historical Periods

3.3 The Digital Era (2000-2025): New Platforms and Preservation Efforts

Digital technologies for performance and transmission have been blended into “Uqun” performance in ways that transcend its evolution in the 21st century. The surge in “Uqun’s” intangible cultural heritage ranking as a national element in 2006 marked a drastic change in “Uqun’s” performance history, being a milestone that accelerated its attractiveness, appreciation as well as resources towards enhanced protection and promotion. Different forms of technologies have brought radical changes to “Uqun,” such as digital video/audio recording that captures vocal elements, gestures and contextual dimensions, which create detailed archives. Combining verbal and non-verbal elements of “Uqun” has made the performance more globally accessible rather than restricted to a particular region. Unlike previous person-to-person and verbal instruction, digital technologies have also advanced the means of transmission through interactive application portals. Furthermore, digital methods have enabled new forms that blend contemporary with traditional during live performances, further evolving the presentation of “Uqun.”

The survey in Table 3 highlights the data gathered from 189 participants belonging to 4 Daur communities that showcase the distinct differences within age groups through their interaction with different forms of “Uqun.” This would indicate and affirm an impact on the effectiveness of transmission techniques across various age demographics.

Table 3. Digital Engagement Patterns Across Age Groups (n=189)

Age Group	Digital Platform Usage (%)	Preference for Live vs. Digital (Ratio)	Digital Learning Tool Adoption (%)
18-35	87.3	0.4:1	76.2
36-55	64.1	1.2:1	41.7
56+	32.2	5.7:1	18.6

While the digital transformation of “Uqun” opens new avenues for preservation and innovation, it also complicates the maintenance of tacit skills and community context that shaped traditional performances. From interviews with cultural officials and heirs, three main digital transmission strategies arise. Comprehensive audio-visual projects archive ethnographic materials which researchers and community members can access, while interactive digital mobile apps and online lesson tools offer structured learning for the new generations. Broad contemporary engagement and reinterpretation aimed at younger audiences is made possible through short-form video socials. The best results seem to arise from a combination of technological advancement, community participation, and what Yan et al. [16] describe as “culturally embedded digital practices” which seamlessly integrate traditional contexts of performance with digital possibilities.

3.4 Comparative Analysis of Transformation Patterns

The historical transformation of “Uqun” from traditional oral practice to digital cultural heritage reveals several significant patterns that inform the understanding of how oral traditions adapt to changing technological and social environments. Cross-period analysis of 52 historical documents and field research data reveals three primary transformation dimensions: performance context transformation from intimate community settings to formal cultural institutions to virtual/hybrid environments, transmission mechanism evolution from immersive observation-apprenticeship models to institutional training programs to multimodal digital learning pathways, and content adaptation from fluid, contextually responsive narratives to standardized performance scripts to multimedia digital content forms.

Figure 3 conceptualizes these transformations, highlighting both continuities and discontinuities across the three historical periods. This analysis reveals that while the medium and context of “Uqun” performances have changed dramatically, core thematic elements and cultural functions have demonstrated remarkable resilience.

Figure 3. Transformation Dimensions of Daur “Uqun”Across Historical Periods

The transformation trajectory of “Uqun” illustrates the concept of adaptive conservation, wherein cultural practices maintain core identity elements while adapting their form, transmission mechanisms, and performance contexts to changing social environments. This adaptive capacity has been crucial for the survival of “Uqun” tradition through periods of significant social and technological change.

In the contemporary digital landscape, “Uqun” exists simultaneously in multiple forms: as a living oral tradition in Daur communities, as a formalized performance art on cultural stages, and as digitally mediated content in virtual environments. The interaction between these various manifestations represents not a linear progression from traditional to digital, but rather a complex ecosystem of cultural expression that continually negotiates between innovation and preservation.

4. Digital Transmission Practices and Innovations of Daur “Uqun”

4.1 Digital Documentation and Archiving Strategies

The basic digital practice for “Uqun” preservation has transformed from basic recording to sophisticated multimodal archiving systems. As noted by Harisanty et al. [17], the use of technology in cultural heritage preservation has moved from passive documentation to active interactivity in the preservation processes that capture both the tangible and intangible elements of performance traditions. My field research on the four Daur communities indicated that high-definition audio recording is now the norm, with multi-channel recording systems capturing the intricate singing and instrumental utterance that accompany “Uqun” performances.

These efforts have resulted in the establishment of the Daur Cultural Heritage Digital Archive within the Morin Dawa Cultural Centre. This archive contains over 230 hours of documented “Uqun” performance recordings from approximately 85% of known active performers. The archive uses a uniform metadata schema which allows for narrative elements from different recordings to be inter-referenced; thus, researchers and practitioners are able to trace the evolution of stylistic changes over time. This systematic documentation process addresses the twofold problem of preservation and access in the context of minority oral traditions.

Figure 4 illustrates this geography and shows the concentration of higher-quality digital documentation in administrative centres such as Morin Dawa Banner and Meilisi District, with peripheral communities exhibiting decreasing documentation quality and quantity. This analysis adds value to an investigation of the distance from institutions as spatial variables in explaining the documentation quality.

Figure 4. Spatial Distribution of “Uqun” Digital Documentation Intensity Across Research Sites

With inheritors and cultural officials, semi-structured interviews exposed ongoing issues associated with the digital recording of performances and the performance context shift. To illustrate, one national-level inheritor shared, “Digital recording captures the sound but misses the spirit—and the gap between performer and audience that endows ‘Uqun’ its essence.” This phrase encapsulates the concern voiced in numerous interviews regarding the tension between culture and technology driven uniformity that defines digital intangible cultural heritage preservation efforts.

4.2 Digital Transmission Patterns and Effectiveness

Apart from documentation, notable progress has been made in creating digital infrastructures intended for “Uqun” transmission and education. These systems respond to the current spatial challenges of contemporary Daur communities and the diminishing prospects for traditional apprenticeship. Zhao and Kim [18] refer to this as a “multi-pathway transmission strategy” which forgoes a singular approach to engagement with traditional culture.

The creation of digital transmission tools has resulted in distinct pathways of learning; each characterized by unique sets of advantages and disadvantages. For example, audio learning tools serve primarily technical skill acquisition through vocal isolation practice via repetitive listening and comparison features. Community forums serve complementary social learning purposes as they allow interaction among peers and sharing cultural context although, most interactions in these spaces tend to be dialogue instead of active performance practice. While social media platforms have limited attention spans, their potential reach is unparalleled, leading to worrying patterns of cultural fragmentation. Analysis of content from these platforms shows that most published materials consist of decontextualized excerpts of performances which endanger holistic cultural appreciation.

The differences in using the platform and more importantly, the aspects of learning that involve effort showed attention to engagement at various ages. Younger participants were digitally active, but their activities were restricted to the minimal effort categorization. Merely a small portion of culturally active participants show genuine concern for profound cultural learning which means that the ease of access does not imply higher levels of real cultural fulfilment. This mirrors major issues concerning the preservation of culture in the digital age, where the inverse is true; the more wide-spanning a technology is, the less salient the culture becomes.

To assess the effectiveness of transmission in a systematic manner, a multilevel index was developed which incorporates transmission breadth (geographic distribution, population coverage impact, societal impact), transmission depth (mastery of the material, skill level, ability to innovate), and transmission sustainability (age structure, generational transfer ability, potential for development). This system incorporates oral tradition sustainability measurements. The comparative evaluation of modalities of transmission highlighted distinct intricate strengths and weaknesses using the index (Figure 5). This radar chart displays a comparison of four transmission modalities across five effectiveness dimensions. In traditional apprenticeship, depth is proficient but breadth is limited. Digital platforms demonstrate opposite patterns. Hybrid approaches showcase balanced performance across the dimensions, thus indicating the best combination of traditional and digital methods for “Uqun” transmission sustainability.

Figure 5. Transmission Effectiveness Index Across Different Modalities

Applying Principal Component Analysis (PCA), five critical factors were revealed which impact “Uqun” transmission effectiveness alongside explaining 78.6% of variance. Language environment variables constitute the strongest prerequisite for effective “Uqun” transmission in a determined technological context, as captured in 23.4% weighted portion of the first primary component. The second component (19.7% variance) focused on community participation variables, ranging from culture-related decision making to digital content creation ownership. The rest focused on appropriateness of technology, inheritor’s digital literacy, and institutional support systems, summing 35.5% variance.

Regression analysis validated these hierarchies confirming a combined model of 63% (R²=0.63, F=37.89, p<0.001) in depth transmission outcomes variance. Standardised β indicated stronger effects of linguistic environment (β=0.42, p<0.001) and community participation (β=0.37, p<0.001) while moderate impact was observed across technological factors. These results resonate with more extensive studies on indigenous knowledge systems where environments of language and traditional culture are interrelated, asserting that digital preservation alongside vibrant socio-cultural ecosystems is imperative in contrast to solely technical preservation approaches.

4.3 Innovative Digital Transmission Models and Adaptations

Fieldwork discovered new models of digital transmission that aim to resolve issues highlighted in the quantitative analysis. These models demonstrate innovative developed changes that combine traditional values of apprenticeships with modern technology. Based on a comparative study of 16 digital transmission initiatives across different research sites, three predominant models were constructed.

The first model, “structured digital learning resources,” breaks down “Uqun” performance into teachable steps that can be accessed through various digital platforms. An example of this is the “Digital Uqun Learning System” developed by Morin Dawa Cultural Centre, which offers a tiered instructional progression from simple rhythmic basics to advanced performance techniques. Interactive audio processing was integrated into the system, allowing learners to speed up or slow down to isolate and focus on specific vocal techniques. Although this model has high accessibility (68% of younger learners surveyed reported using it), its effectiveness in skill development was only moderate, as learners displayed a more technical than expressive mastery.

The second model, “hybrid mentorship,” combines in-person mentoring with digital support tools. For instance, the apprenticeship group established by national-level inheritor Serehe utilizes a combination of remote instruction, recording analysis, and intensive periodic learning sessions. This method preserves the essential mentor–apprentice bond while extending its reach through digital means. Measurement of effectiveness revealed enhanced results in transmission depth metrics, with apprentices achieving 74% proficient performance compared to traditional apprentices after one year, which significantly outshines purely digital learning approaches.

The third model, “community digital archiving,” involves community members in the digital documentation and organization process, ensuring that digital preservation reflects community understanding and values. The “Uqun Memory Project” in Meilisi Daur District encourages community members to collect relevant materials and memories from their families, creating a collective memory archive. This participatory approach addresses the critical issue of community ownership identified in the quantitative analysis, and shows promising results in community engagement metrics (participation rate increased by 43% compared to institutionally-driven projects).

Comparative analysis of these models reveals that successful digital transmission initiatives share three key characteristics: first, technology applications are customized to “Uqun” characteristics rather than applying generic digitization templates; second, they maintain high community participation to ensure digital content reflects community aesthetics and values; third, they create blended learning environments that combine digital tools with face-to-face exchanges.

The comprehensive evaluation of these three transmission models across multiple dimensions provides deeper insights into their relative strengths and applications. Figure 6 presents a multifaceted analysis comparing workflow complexity, performance metrics, age group engagement patterns, and resource investment profiles across the three identified models.

Source: Data based on field research across four Daur communities (n=189). Effectiveness measured on 5-point Likert scale.

Figure 6. Comprehensive Analysis of Digital Transmission Models for Daur “Uqun”

The analysis reveals several critical patterns. (Figure 6A) demonstrates that hybrid mentorship achieves the optimal balance between implementation complexity and transmission effectiveness, with most workflow stages clustering in the high-effectiveness quadrant. Structured digital learning shows high scalability but variable effectiveness across different stages, while community archiving maintains consistent moderate performance with lower complexity requirements.

The performance metrics heatmap (Figure 6B) confirms that hybrid mentorship excels in skill retention (4.5) and cultural authenticity (4.7), justifying its higher resource requirements. Structured digital learning achieves superior scalability (4.5) and learning efficiency (4.2), making it suitable for broad dissemination efforts. Community archiving demonstrates balanced performance across metrics, with particular strength in cultural authenticity (4.2).

Age group engagement analysis (Figure 6C) reveals distinct preferences across demographic segments. Younger participants (18-35) show highest participation in structured digital learning (76.2%) but report moderate satisfaction (3.8). Older participants (56+) demonstrate strong engagement with community archiving (71.2% participation, 4.3 satisfaction), reflecting preferences for familiar social structures. Hybrid mentorship achieves consistent high satisfaction across all age groups (4.0-4.5) despite moderate participation rates.

The resource investment profiles (Figure 6D) illustrate the strategic trade-offs inherent in each model. Hybrid mentorship requires substantial human resources (4.5) and community involvement (4.3) but minimal technology investment (3.1), reflecting its emphasis on interpersonal transmission. Structured digital learning demands high technology investment (4.2) but lower human resource allocation (2.8), enabling scalable delivery. Community archiving balances human resources (4.1) and community involvement (4.6) while maintaining cost-effectiveness through minimal technology requirements (2.3).

4.4 Challenges and Adaptations in Digital Transmission

Regardless of the innovations made, the digital transmission of “Uqun” still faces major issues which require constant changes. These issues were discussed during the interviews with the cultural officials and the inheritors, which revealed ongoing issues with embodiment, context displacement, disparity of technology access, and embodiment cap.

With respect to “Uqun” singing as the form of Uqun expression art, digital devices fail to capture the essence of the genre due to the intricacy of vocal details while expressing and uttering words. The traditional way of teaching requires movement-based cooperation, which is followed by rehearsal and reproduction. There is no such thing as high-definition video which captures details such as the proper ways to feel, guided micro-expressions, and how to physically shape. To solve this, other innovative programmes exist with special tools on visualisation of the voice which shows the curve and counts the duration of the voice on pulse parameter characteristics during real time.

As much as removing performances from their traditional cultural contexts may allow greater access to them, it also risks disassociating them from fundamental social meanings and functions. In the words of one community elder (72 years old), “Uqun is not just singing—it tells our history, our values, our identity. When young people only see short snippets online, they miss the stories behind the songs.” This concern illustrates gaps in digitally preserving heritage where lack of context threatens the comprehensive grasp of culture. In response, some initiatives have created contextual documentation to accompany their primary material, such as performances within their historical and cultural narratives through interactive multimedia storytelling designed to create deeper meaning than the performances themselves.

As if the previous factor was not enough, lack of access to technology worsens the situation with uneven access to digital technologies risking the exclusion of certain community members. Survey results uncovered significant gaps in access to the internet, with only 27% of respondents over 56 years old claiming confidence in accessing digital learning tools. Geographical inequalities impact this problem as well, with rural settlements’ internet connectivity lagging behind administrative centers by 34%. Collectively, these factors are poised to establish novel types of cultural disenfranchisement whereby digital access aids only the youth, urban dwellers, and digitally savvy members of the community.

To resolve these issues, Zihang and Yunfei [19] identified a new model of “technology-enhanced traditional transmission” which categorizes these as hybrid models of transmission. They incorporate digital technologies into in-person teaching, where technology is used to facilitate and not supplant the existing pedagogical relationships. The development of these adaptive strategies shifts in the balance between creativity and technological culture, preserving “Uqun” in modern contexts in rotation. Key challenges and adaptive solutions identified across the research sites are outlined in Table 4.

Table 4. Digital Transmission Challenges and Adaptive Solutions

Challenge Category	Specific Challenges	Adaptive Solutions	Implementation Examples
Embodiment Limitations	Vocal technique transmission, Physical sensations, Performance nuance	Vocal visualization tools, Haptic feedback systems, Multi-angle recording	Morin Dawa Vocal Training Program, Meilisi Performance Workshop
Context Displacement	Cultural meaning loss, Narrative fragmentation, Social function disruption	Contextual documentation, Interactive storytelling, Community discussion forums	“Uqun Stories” digital platform, Community Context Archive
Technology Access	Age-based digital divide, Geographic disparities, Economic barriers	Mobile-first design, Offline functionality, Community technology centers	Bayantala Digital Access Program, Tacheng Community Center

This examination of the obstacles and the adjustments explains the ongoing struggle between cultural preferences and technological affordances for “Uqun” digital transmission practices. This is an exemplary case of practitioners negotiating within the socio-cultural context. As noted by Ma and Guo [20], these approaches to the preservation of intangible cultural heritage actively shape the knowledge-based economic development of minority ethnic regions while reinforcing cultural sustainability.

5. Discussion

5.1 Adaptive Patterns in Oral Tradition Historical Transformation

The historical change of Daur “Uqun” showcases specific adaptive dynamics of oral traditions of minority groups in relation to the processes of modernisation. The three-stage development demonstrates that oral traditions operate as dynamic cultural systems rather than as static heritage possessions, a process through which performance forms, modes of transmission, and social functions rod change continuously but retain essential cultural features. The advance from private to public “culturally staged” and then to virtual spaces demonstrates the integration of technology and cultural expression. The evolution from oral and formulaic techniques through standardised scripts to multimedia digital content demonstrates the transforming of traditional narratives while conserving thematic unity.

This adaptive capacity emerges in response to critical shifts in society as a vital mechanism of survival that allows for cultural traditions to stand the test of time. The protective frameworks created by institutional engagement during the modern transition period, upheld formalisation rigours, ensuring the tradition endured through politically tumultuous times. Efforts toward digitisation enhance risks of losing context alongside offering remarkable avenues for preservation, thus posing at the same risk of decontextualisation. The transformation patterns identified in “Uqun” contribute towards understanding how other minority oral traditions attain the balance between cultural authenticity and modern-day relevance in conflict with ordinal studies of the pathways of development of intangible cultural heritage [21].

5.2 Digital Transmission Paradox and Underlying Mechanisms

The case study of “Uqun’s” digital transmission reveals a profound effectiveness paradox where, on the one hand, technology enables a greater reach, but on the other, depth is diminished. This points to the persistent struggle between technological possibilities and cultural necessities in efforts to preserve heritage. The analysis shows that integrated digital platforms only reach 42% of traditional depth of transmission. This peculiar finding accentuates the intricacy of transmission of cultural knowledge in digital frameworks and resonates with the broader issues of cultural heritage research methodologies [22].

The designation of the linguistic environment as the key determining factor continues to emphasize the fact that oral traditions are, in essence, anchored to their socio-linguistic environments even when technology intervenes. Community participation comes forth as the second most important factor, indicating that transmission necessitates active engagement from the community instead of passive consumption of content. The limited impact of technological factors suggests that while oral traditions may be documented and digitally accessed, social and cultural foundations that underpin these practices cannot be provided through technology. This vertical influence framework dominates purely technological approaches to preservation of culture by underscoring the need for embedding digital approaches into wider cultural frameworks.

5.3 Innovation Value of Hybrid Transmission Models

The comparison study of digital transmission models shows that a blend of traditional and modern elements works best. These hybrid models do not face the challenges of purely digital methods struggling for cultural authenticity or the limitations of tradition-bound scalability. As seen in the success of hybrid mentorship programmes, digital tools are an enhancement, not a replacement, for traditional apprenticeship relationships. These tools support modern perspectives on immersive cultural heritage experiences [23].

The preference transmission models categorised by age and generation highlight the ever-evolving nature of cultural learning, as well as the global attraction of hybrid models. Digital platforms are still appreciated by younger participants, but they experience greater satisfaction when technology aids in interaction instead of replacing it. While older participants still prefer community-based methods, they become more active participants when gentle digital integrations are made. In terms of resource investment, the hybrid models are found to achieve optimal resource allocation, balancing human, technological, and community inputs to create sustainable pathways that honour cultural traditions and present-day limitations.

5.4 Technology-Community Balance in Cultural Preservation

The issues profound in digitization practices illustrate the underlying tensions between cultural diversity and technological standardization. In oral traditions, the digital limitations of embodiment underscore the need for sensory experience and physical presence. Risks of context displacement arise when performances are extracted from their cultural contexts, risking holistic comprehension of traditional practices. Socioeconomic divides in technology access threaten to create new forms of cultural exclusion which favour demographically younger, urban, and digitally literate community participants.

Adaptive strategies in action at different research locations demonstrate ingenuity in meeting cultural requirements alongside technological capabilities. Attempts to ‘fix’ gaps of embodiment make use of sophisticated digital applications, as seen in vocal visualisation tools. Through advanced digital means, contextual documentation projects aim to both capture performances and articulate cultural meaning, thus preserving culture in heritage dissemination [24]. Community technology centres established within specific geographical regions respond to access disparities by focusing on infrastructure development and capacity building. The adaptations mentioned reveal ongoing negotiations between cultural logic and technological logic, which evolve as informed by digital heritage research trends [25].

5.5 Policy Implications for Minority Cultural Digital Preservation

The results justify establishing policies that aim towards more effective cultural preservation within the domains of technology, society, and culture. The overriding importance of the factors related to the socio-religious context suggests the need for holistic policies that include language preservation and socio-historical heritage safeguarding on the sociological dimension. Effective cultural preservation must involve the active maintenance of sociolinguistic environments through daily vernacular use and performance of traditional rituals, as informed by diverse cultural perspectives, including traditional craft preservation [26].

The importance of community participation illustrates that effective policies need to create meaningful consultation processes that preservation initiatives undertake community prioritization. The area inequalities concerning the intensity of digital documentation indicate the existence of unbalanced resource allocation that responds to the preservation needs of peripheral communities. The proximity institutional effects uncovered in the analysis underscore the need to create distributed rather than centralized preservation support systems. The policy framework needs to capture that effective cultural preservation requires an enduring institutional commitment, secure funding systems, and adaptable approaches to advancing technological capabilities and community requirements. These thoughts align with more general patterns of cultural consumption and their consequences on heritage preservation strategies [27] and simultaneously foster economic growth through the initiatives of cultural heritage digitization [28].

6. Conclusion

With respect to the Daur “Uqun” oral tradition, this research offers holistic perspectives with regard to the processes and effects of digital transformation technology, as well as innovation and cultural preservation interactions. The historical perspective illustrates that oral traditions are highly dynamic in the ways that they preserve the culturally essential features of a society while modifying the ways in which they transmit the tradition to suit the prevailing social setting. The quantitative evaluation reveals an underlying paradox in digital transmission: wherein technology greatly widens the geographic reach and access, it concurrently undermines depth of transmission and authenticity of culture. The results highlighting the linguistic environment and community participation as the main contributing factors emphasize that effective digital preservation is not a matter of mere technical strategies but embedding technology within vibrant socio-cultural frameworks. The hybrid models of transmission which performed better demonstrate that there is hope for the sustainable preservation of oral traditions and that the agnostic approach of combining traditional and contemporary frameworks strengthens cultural integrity while maintaining modern relevance. These findings augment the cultural heritage discourse by adding empirical baselines pertaining to the effectiveness of transmission analysis and theoretical concepts of adaptive conservation strategies. From these findings, the cultural heritage policies and practices are directed towards equitable resource allocation, community centred frameworks, and enduring institutional frameworks. Future studies should include different cultures to these findings and examine the sustainability of hybrid preservation models in the long term across varying contexts of oral traditions.

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