Reflecting upon Harrison's critical approach to heritage (2013), in this paper I take the ritual and performances of Tanadui in Taketomi as an example to conduct a primary research on the anthropology of heritage. I firstly review the notion of heritage and its correspondent development with the expansion of Western modernity and the global system, to reveal how heritage has been defined, debated, legitimized, institutionalized and provided with the politics of cultural identity internationally and domestically. I then review Japanese regulations of Cultural Assets to discuss how, by adopting paradigm of knowledge such as the Japanese folklore study, the nation has developed, refined and revised the system as an inscription of, and reaction to, modernization. The discussion is then followed by the example of my long-term ethnographic study of ritual and performances in Taketomi, to illustrate how regional cultural practices interact with the global discourse and national craft centering on intangible cultural heritage, while expressing themselves with unique cultural philosophy about the past. At the end, I suggest that the transformation of the premise and core value of intangible cultural heritage, as shown in the difference between the 1972 and 2003 Conventions, prove that the community, which is the ideal maintainers of cultural heritage, must negotiate and even transform the concepts and discourse, to sustain a more autonomous space for interpretation and creation, while ensuring the recognition of uniqueness of its own culture.