The traditional festivals of the festival flavor has been gradually diluted to illustrate what, give examples of the significance of the construction of festival culture

The first thing to do to protect the traditional festival culture is to record: "Our generation should record what we see, because after many years it still has to change, it's not the same, especially now the means are more, you can use written records can also be video, there is a lot of historical value here. But salvage to pay attention to a problem, is to maintain continuity. It's not that today's record is finished, tomorrow or the same must be recorded." Simply record more only applies to the "past tense", "protection" and "development" equal importance, is a greater sense of "protection ". The Olympic Games, held once every four years, has become the most caring contemporary cultural event for people of all races all over the world. As we all know, it originated in 776 BC or so, the ancient Greeks held the Olympic Games as a custom to worship Zeus, the god of thunder and lightning. After more than 2,800 years of intermittent development and evolution to today's weather, Wu Bing'an evaluation of it "to play the modernization of ancient folk cultural resources set the highest model".

To recognize and bring into play the "modernization effect" of traditional culture, it is necessary to first identify its modernity, that is, to identify the value of its existence in modern life. On this basis, "the traditional folk cultural heritage should be selected in order to recognize the potential modernity value of certain cultural resources, so that many of them are no longer 'ancient fossils' or 'historical residues' but cultural treasures that lead the past into the future. past into the future as cultural treasures." He also talked about a number of specific measures, such as promoting cultural protection legislation, establishing professional associations and specialized folk culture museums.

The topic of traditional festival culture protection will continue. The reporter thought, it seems that the "inheritance of tradition" and "absorb the advanced" to combine more closely to be good. Unlike most young people, the reporter likes to listen to Peking Opera, but only part of the repertoire. At the same time, I am very clear that I like this is not out of self-consciousness, not because the Peking Opera is a national treasure and the audience is sparse on the initiative to "do their duty", but out of spontaneity, I think that many of the Peking Opera excerpts are really very "good". I can say that it is the charm of Peking Opera itself that has infected me, not the "essence of traditional culture" and other such aura that is attached to it. In my opinion, to use "crisis" or "embarrassment" to describe the current situation of Peking Opera is emotional and subjective. In fact, Peking Opera is just not as brilliant as it used to be, and it has returned to its rightful place in a specific period of time. In this process, what the Peking Opera has lost is its former status, while its real aesthetic charm and artistic value have not been lost. Based on this judgment, I don't think Peking Opera will die out - at least not for a long period of time. And those parts that should be sent to museums should just be sent in. Traditional festivals - or the core values embedded in them - are not going to die out either, that's my opinion. I also welcome and enjoy some of the "foreign festivals". What is the need to reject the advanced culture embodied in "foreign festivals", such as the idea of "people-oriented"? (Chinese traditional festival culture in the process of rupture and integration -- Nanfang.com)