Intangible cultural heritage is the genetic code of civilization, carrying national memory and cultural identity. In the process of modernization, how to make intangible cultural heritage "fire" in the present and "spread" to the future is an important issue bestowed by the times. The foundation of intangible cultural heritage protection lies in "people" and "technology". Throughout the more than 20 years of development of intangible cultural heritage protection in China, the most fundamental protection work begins with the solid protection of representative inheritors, core skills, and typical projects, activating the individual vitality of intangible cultural heritage and making representative inheritors the "living carriers" of skills and spirit. Taking traditional drama as an example, in recent years, young people's enthusiasm for traditional drama has risen, reflecting their identification with traditional culture. This cannot be achieved without the hard work and wonderful presentation of representative inheritors of intangible cultural heritage. During the college tour, the Kunqu opera 'The Peony Pavilion' received a warm response from young students. However, there are still some shortcomings in the current protection and inheritance of intangible cultural heritage. Taking traditional Chinese opera as an example, some enthusiasts only focus on the form of costumes but are unaware of the cultural significance of opera costumes. 70% of the audience can sing selected passages but cannot reveal the origin of the opera genre, resulting in the phenomenon of "knowing the appearance but not the bones". A survey of a certain intangible cultural heritage drama festival shows that 348 intangible cultural heritage drama genres in China are facing extinction, the crisis of inheritance gap has not been completely resolved, excessive commercialization adaptation has led to the loss of essence, and digital technology is facing new ethical issues in intangible cultural heritage inheritance when constructing new inheritance scenarios. Practice has shown that the protection of intangible cultural heritage in the context of the times focuses on three levels. One is to better protect representative projects of intangible cultural heritage and their inheritors, and adhere to the principles of upholding tradition and innovation in the inheritance of traditional skills. Breaking through the "museum style" conservation paradigm through a dialogue between tradition and modernity; By adhering to the underlying logic of integrity and innovation, intangible cultural heritage techniques can take root in the contemporary economic soil, achieving the sublimation from traditional techniques to value symbols. When using cyberpunk visuals to present Kunqu opera masks and algorithms to spread local opera performances, what we see is not only a revival of tradition, but also a modern recombination of cultural genes. Today's intangible cultural heritage is not only about craftsmanship, but also cultural symbols that can be interpreted and reconstructed. The key is to establish an inclusive ecosystem that not only protects the authenticity of the core, but also provides space for innovative experimentation, achieving true living inheritance in intergenerational dialogue. The second is to promote the integration of intangible cultural heritage into modern life, facilitate the integration of traditional inheritance methods with modern social production models, and form a closed loop of "production dissemination consumption" through the extension of the industrial chain. By integrating culture and tourism, we can empower rural revitalization with intangible cultural heritage and create an "intangible cultural heritage+culture and tourism" industry chain; Through industrial linkage, connect the entire chain of design, production, and sales for traditional handicrafts, and promote the transformation of intangible cultural heritage from workshop economy to brand economy; Through digital empowerment, breakthroughs can be made in the dissemination and consumption of intangible cultural heritage, creating e-commerce consumption scenarios for intangible cultural heritage through short videos and live streaming "cloud art teaching", and launching "digital collections" to attract young people. In short, by reconstructing the dissemination scenarios and transforming intangible cultural heritage into experiential cultural and tourism products, we can achieve a leap from "regionalism" to "breaking through boundaries". This not only activates the local economy, but also makes intangible cultural heritage a bond of local cultural identity. The third is to guide the whole society to participate in the protection of intangible cultural heritage through top-level design, and cultivate a good social ecology for the protection of intangible cultural heritage. The protection of intangible cultural heritage has shifted from government led to high attention and participation from the whole society, requiring continuous institutional guarantees, social collaboration, and educational infiltration to build an ecological system of "seeing people, seeing things, and seeing life". In recent years, from the construction of a four level list system, legislative protection of intangible cultural heritage, to the introduction of intangible cultural heritage into campuses, communities, and scenic areas, institutionalized protection has been incorporated into development plans at all levels, forming a "government guidance+social participation" mechanism and a multi-level intangible cultural heritage protection system, ultimately achieving social governance and public participation. (New Society)