In the Xizang autonomous region, The Epic of King Gesar is a monumental narrative, crafted collectively by the Tibetan people and passed down orally for over a thousand years through generations of storytellers. Widely regarded as the world's longest living epic and often described as "The Iliad of the East", it remains one of the few great epics still actively performed today. It was included in China's national intangible cultural heritage list in 2006 and added to the UNESCO list of world intangible cultural heritage in 2009.

While The Epic of King Gesar is still performed on stage by children in Xizang, the key question is how this "living heritage" can be sustained and not become a passing fad. The answer lies in understanding the unique nature of The Epic of King Gesar. Unlike conventional literary classics, the epic has no definitive written version. Its vitality lies not in books or archives, but in oral performance. For centuries, storytellers have conveyed the epic through memory and performance, making each performer a living carrier of the tradition.

Young storytellers learn the Gesar epic tradition from their ancestors. This is precisely why preserving the cultural environment surrounding the epic matters as much as preserving the text itself. The essence of the Gesar epic exists in everyday life. Therefore, the key to safeguarding the tradition is to protect the cultural soil that allows it to grow organically, rather than turning it into a commercialized performance industry or packaging children as "little celebrities" for commercial purposes, which runs counter to the spirit of living cultural transmission.

At the same time, living traditions require institutional support. China's efforts to preserve the Gesar epic began in the 1980s. In recent decades, major projects have been launched to document, compile and publish versions of the epic. Nagqu, known as the "hometown of Gesar epic storytellers", has established a four-level inheritance system covering national, regional, municipal, and county levels. The city is home to more than 170 recognized Gesar epic storytellers and five dedicated storytelling centers.

The protection efforts go beyond symbolic recognition. Authorities and researchers are building detailed archives for storytellers, recording vocal styles, oral histories and unique narrative versions. Extensive digital recording projects have preserved thousands of hours of audio and video from some senior performers. Training programs bring together scattered performers from pastoral regions to exchange techniques and traditions, while government subsidies allow many storytellers to continue practicing without relying solely on commercial performances for their livelihood. These measures have provided critical support for the Gesar epic during rapid modernization and globalization.

Yet institutional support alone cannot ensure the epic's future. Preservation must move from simple recording toward active engagement. Digital archives should become more open, interactive and accessible, incorporating multilingual annotations and searchable databases for researchers and younger audiences alike. More importantly, new forms of participation need to be developed.

Interactive mobile applications, for example, could allow young users to learn different singing styles, explore story maps and upload their own performances. Such tools could help children encounter the Gesar epic naturally through the digital platforms that already shape their daily lives.

However, much of today's online content is limited to gala shows and interviews with storytellers. To truly connect with younger generations, creators should be encouraged to reinterpret the epic through animation, graphic novels, contemporary music and even games inspired by the Gesar epic. This should not be seen as diluting tradition, but as part of the natural evolution that all living cultures undergo over time.

Equally important is cultivating long-term interest among younger generations. Some schools in Nagqu have already incorporated elements of the Gesar epic into arts education and extracurricular activities. In recent years, efforts have also been made to support female performers and young inheritors.

The goal should be to make the Gesar epic part of everyday cultural life rather than a distant heritage symbol. Storytelling clubs, illustrated books, school performances and interactive learning activities can help children feel that the epic belongs to their own lives and imagination.

At the same time, the cultural significance of the Gesar epic extends far beyond the Tibetan ethnic group alone. Versions of the epic are also found among other ethnic groups as well as in some neighboring countries and regions influenced by Tibetan culture. The epic embodies centuries of cultural exchange across ethnic groups, languages and regions.

In this sense, the Gesar epic belongs not only to Xizang, but to a broader cultural landscape shaped by a shared history and human connection. Expanding international and cross-cultural exchanges among Gesar performers, researchers, and institutions could strengthen both cultural dialogue and global awareness of the tradition.

Today, the transmission of Gesar stands at a pivotal generational moment. Children are still listening, learning and singing. But listening is not the same as inheriting, and inheritance is not the same as sustaining a living tradition.

That requires both respect for the cultural logic that has sustained the Gesar epic for centuries and openness to new technologies, new forms of expression and new audiences. Finding the balance between preservation and innovation may ultimately determine whether this ancient epic continues to thrive far into the future.

The author is an assistant researcher at the Xizang Academy of Social Sciences.

The views don't necessarily reflect those of China Daily.

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