The resources of folk art in Jiangshan, Zhejiang Province are rich in content, and there are nearly 1 kinds of existing traditional folk art, which belong to 25 categories, including folk music, dance, drama, folk art, acrobatics, entertainment, folk arts and crafts, and fine arts. However, due to the impact and ineffective protection of foreign cultures, the development prospects of Jiangshan folk art are worrying, and some species are on the verge of extinction or in a state of "extinction". Mainly manifested in:
1. The living space of folk art is shrinking. Many folk troupes in Jiangshan were able to perform Wu Opera, Yue Opera, Tea Picking Opera, etc. These troupes were overwhelmed by movies and television, and the living space of folk art was gradually becoming smaller. Now all these troupes have disintegrated. Before liberation, Taoist priests could perform Nuo opera and "Xujiang Ancient Music" when they were doing Dojo. Now Nuo opera has disappeared, and only a 78-year-old Zheng Ziqin can hum "Xujiang Ancient Music". Nianbadu Puppet Troupe and Sidu Daoqing stopped performing because there was no performance market. Jin Zonghuai, the head of the Puppet Troupe, is the only young puppet inheritor. He is 38 years old this year, and the actors who perform with him are all over the ages. At present, Jin Zonghuai is guarding more than 4 puppet props.
2. Many traditional skills and folk arts are on the verge of extinction. A number of folk art projects with important value and distinctive features, such as Guangdu hand lion dance, Wuchengduanlong, Shangyu tea-picking opera, Xujiang Taoist music, Sidu Daoqing, nianbadu folk songs, puppets, murals, paper-cutting, boat lanterns, stilts, Shimen pavilion, Changtai Lianxiang, Sanqingkou porcelain art, wucun fish lantern, Fenglin paper-binding, Fenglin social fire and Jiangshan West. Among them, nianbadu mural art and Fenglin social fire have been lost; Shangyu tea-picking opera and Guangdu hand lion dance are in an endangered state and will soon be lost. Most folk art is in a state of paralysis.
3. The "constructive" destruction of cities and the "exploitative" tourism have seriously damaged folk art resources. Bulldozers in the transformation of the old city knocked down and crushed a large number of cultural essences attached to the old city houses, such as brick carvings, wood carvings, stone carvings and murals. Some ancient villages, ancient blocks and ancient buildings with historical, scientific and cultural values in rural areas were destroyed in the construction of market towns. Folk art resources fall into the swamp where the economy develops and the damage is more serious. Seeing the huge business opportunities contained in folk art, some departments have carried out the so-called "tourism resources" under the banner of folk art. This kind of development behavior is either a "brain-slapping project" that does not understand art, or a mercenary move that regards folk art as a cash cow, which often becomes disguised destruction and devastation.
4. A large number of precious objects and materials of folk art were destroyed. Because of the lack of folk and folk culture protection institutions and the lack of management of folk culture market, a large number of precious physical objects and historical materials of folk art are lost to foreign countries or even overseas. For example, some villagers in Dachen Village, Dachen Township don't know the goods. In the 199s, it was a great pity that wooden doors with flower windows carved with the Chinese zodiac were sold to foreign merchants at a very cheap price. Some precious heritages scattered among the people are destroyed, endangered or even extinct due to poor protection or improper protection methods. Some unique folk customs and events, such as the nianbadu girl's custom of hanging "Lian Dao rou" when she got married, are gradually disappearing due to the assimilation and influence of Jiangshan customs.
5. The shortage of researchers and funds restricts the protection of folk culture. Due to the lack of funds for the protection of folk art, there is a lack of modern scientific and technological means and carriers, and it is impossible to carry out emergency rescue, which brings the danger of annihilation. Without researchers, folk art can neither be protected scientifically and effectively, nor can it form fine works, which directly affects the subsequent development and rational utilization of folk art. On the whole, the living environment for the inheritance and development of Jiangshan folk art is getting worse.
strengthening the rescue and protection of folk art is an important content of strengthening cultural construction. At present, the continuation and development of excellent traditional folk art is worrying, which urgently needs the government to pay enough attention and formulate relevant policies to strengthen the rescue and protection work. To this end, the following suggestions are put forward:
(1) step up the formulation of folk art protection plans. We should focus on the long-term, base ourselves on reality, and follow the idea of "protection first, rescue first, rational utilization, inheritance and development", step up the formulation of folk art protection plans, and truly put the construction of folk art resources on the agenda of governments at all levels. For some typical folk arts with high historical, cultural and scientific value, establish and improve data files, include them in the Protection List, formulate detailed and operational rescue and protection plans, implement protection measures and funds, and carry out systematic and comprehensive protection.
(2) strengthen the construction of the contingent of folk art inheritors. For folk stunts, unique skills and unique skills that are on the verge of extinction and have important value, we should adopt key support policies, encourage apprentices to teach skills, and make folk stunts succeed others. At the same time, we should organize personnel to record and sort them out, and use video, audio recording, words, photos and other means as soon as possible to preserve folk art materials; Those who have been engaged in the production and performance of excellent folk art for a long time, formed their own style, formed their own genre and made achievements, should be given certain spiritual and material rewards; It is necessary to guide young people to learn folk art and train the next generation of inheritors; It is necessary to create conditions to promote national folk art to enter schools and classrooms, advocate the establishment of interest classes in primary and secondary schools, establish a backbone team for the inheritance, protection and research of folk art, and promote the inheritance and research of various folk traditional cultures.
(3) provide a strong guarantee for folk traditional culture. It is necessary to strengthen leadership and set up leading groups for the protection and development of folk traditional culture at the provincial, municipal and county levels to provide organizational guarantee for the construction of folk art resources; It is necessary to establish a long-term mechanism, increase financial input, set up special funds for the protection of folk traditional culture, and include them in the annual budget, which is mainly used for the survey, collection, protection, utilization, personnel training and support of important projects and inheritors of folk traditional cultural resources. At the same time, actively explore various financing channels, guide social funds to participate in the protection, development and utilization of folk art, and establish a multi-input mechanism combining state-owned and folk.
(4) create a living environment for national folk culture. While protecting the traditional ethnic and folk culture, we should carry out the construction of ecological protection zones for traditional ethnic and folk culture; Correctly handle the relationship between protection and development, protection and construction, tap a number of cultural and artistic resources, participate in tourism and economic activities, and take the road of sustainable development while protecting and developing. Actively innovate the carrier of rural cultural activities, often carry out mass cultural activities and festivals with wide participation and profound influence, and guide these activities to combine with the development of folk art resources, which not only meets the needs of the masses for beauty and pleasure, but also creates a good environment for the development of folk art resources.
(5) establish the awareness of the whole people to protect folk art. Actively publicize the value and significance of protecting folk traditional culture, encourage people to know more about folk art resources from the perspective that cultural resources are the symbol of a region's soft power, further improve the general public's understanding of saving and protecting folk art, enhance the consciousness of protecting folk culture, cultivate people's feelings for folk culture, and strive to form a good atmosphere of paying attention to, supporting and protecting folk traditional culture in the whole society. (Author: Wang Meng) (Source: Culture Communication Network) (Editor/Gaoshan)
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The seminar on the construction of China folk culture and art industry held recently in Lanzhou shows that. The added value was 357.7 billion yuan, accounting for 3.1% of GDP, and the folk literature and art industry showed a good development trend.
China's folk literature and art industry started late, and the added value accounts for a large proportion of GDP. In recent years, in response to the call of the central authorities, China Folk Writers and Artists Association has taken a series of measures around the five major goals of folk literature and art protection, inheritance, transformation, innovation and industry. By holding a folk arts and crafts fair, it will increase the social influence of folk arts and crafts and open up the economic market of folk arts and crafts. In May last year and June this year, two folk arts and crafts fairs were held in Beijing National Culture Palace and China Agricultural Exhibition Hall respectively, which were successful. In September, 24, the 2nd International Folk Crafts Fair was held in Tianjin. More than 1, people from more than 4 countries and folk art groups from 27 provinces, municipalities and autonomous regions in China held art exhibitions, exchanges and exhibitions, which became an international folk event. In October, 24, the Qinghefang Folk Artists' Festival and Art Exchange Conference in China was held, which attracted hundreds of thousands of people. In September this year, the China Collection and Folk Crafts Expo was held in Guangdong, and more than 5, people visited and bought it every day. In August 23, August 24 and August this year, China Changchun Folk Art Fair was held for three consecutive years, with a total turnover of more than 6 million yuan.
In recent years, the China Association for Democracy and People's Livelihood has also held various activities to promote folk literature and art and promote local economic development. For example, the 6th Folk Art Festival held in Yuci, Shanxi Province in 24, the International Nuo Culture Festival held in Nanchang in June this year, the Pan-Pearl River Delta Folk Art Festival held in Shanwei, Guangdong Province in September, the Yangtze River Valley Folk Art Festival held in Zhangjiagang, Jiangsu Province in October, and the National Folk Drum Music Mountain Flower Award held in Linfen, Shanxi Province have all brought considerable economic benefits and positive social impacts.
The rise of folk literature and art industry has promoted the rescue, research and protection of folk literature and art in various places. For example, on the basis of discussion, the China Folk Culture Museum was established. Yuxian county, Hebei province established the Chinese paper-cutting art base; A research base for woodblock New Year pictures has been established in Hanting District, Weifang, Shandong.
Zhangmutou Town in Dongguan, Guangdong Province is named as the hometown of China Kirin, Suixi in Zhanjiang is named as the hometown of China lion dance, Linxia and Minxian in Gansu Province are named as the hometown of flowers, Qingyang is the hometown of sachets, green temple in Yichang, Hubei Province is the riddle village of China, Tongbai County in Henan Province is the hometown of China Pangu, and Fengfeng Mining Area in Hebei Province is the research base of China folk kiln. The China Association for Democracy and People's Livelihood has successively named a number of folk art towns and folk cultural heritage bases for various places, which not only protected local traditional folk cultural brands, but also infiltrated and extended to the economic market on the basis of inheritance.
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