How to introduce traditional arts in the classroom

The Ministry of Education announced that from March 2008 to July 2009 will be in the country's 10 provinces, municipalities and autonomous regions to pilot in the music curriculum to increase the content of Peking Opera teaching, during the two sessions of the Peking Opera into the classroom has aroused heated discussions among the members of the delegates. Beijing Peking Opera Theater Mei Lanfang Peking Opera Troupe director Mei Baojiu to the National Committee of the Chinese People's Political Consultative Conference (CPPCC) submitted a relevant proposal, he wrote in the proposal of the case, "the content of compulsory education of primary and secondary school students in Beijing Opera to be cautious". March 13, just before the closing of the first session of the CPPCC National Committee of the day before the meeting was convened to deal with the proposal of the third consultation on the Peking Opera into the classroom. The meeting was held on March 13, the day before the closing of the 11th session of the CPPCC, to consult members and experts on issues related to the introduction of Beijing opera into the classroom.

Peking Opera and local theater co-ordination

"1 + X" more effective

Peking Opera into the classroom, is to allow primary and secondary school students to understand the traditional Chinese culture and art, so that the national culture can be inherited. However, our country has a long and vast history, with 56 ethnic groups and thousands of years of history. Our ancestors created many different art forms in different languages and regional cultures. When it comes to combining traditional culture and arts with basic education, why did we choose Beijing Opera?

Li Weikang, a special professor at the Chinese Academy of Opera, believes that since its birth, Peking Opera has drawn on many different strengths, and that it is more complete and inclusive than local opera, "It can be said that Peking Opera is a prominent representative of the art of opera, and that it provides a channel for people to understand the art of opera." Tan Xiaozeng, a first-class actor of Beijing Peking Opera Theater, pointed out, "Peking Opera is a representative of Chinese national culture. The significance of Peking Opera in the classroom lies not only in supporting Peking Opera, but also in supporting the traditional culture represented by Peking Opera."

The choice was also questioned by some experts. "Peking opera is a national essence and a national treasure, and so are Cantonese opera, Sichuan opera, Yu opera, opera appraisal and Hebei opera." Tian Qing, deputy director of the China Intangible Culture Protection Center, believes that there is a single choice for promoting Peking Opera genres in primary and secondary schools across the country, "In the 1980s, there were still about 380 types of local operas in China. In recent years, there have been about a hundred species lost in the process of modernization. Moreover, unlike Peking Opera, which has received strong support from the state in recent years, many local dramas have faced extinction and are in greater need of support, protection and inheritance."

Mei Baojiu pointed out that education now should also allow primary and secondary school students from all over the world to know and understand local operas such as Sichuan opera, Qin opera and Cantonese opera.

As a front-line worker in introducing Beijing opera into the classroom, Liu Lu, a music teacher at a small school in Beijing's Zhongguancun district, proposed a "1+X" approach based on her teaching practice. She pointed out that, in addition to Peking Opera, primary and secondary school students should be exposed to local art forms in conjunction with local realities; in addition to the prescribed repertoire, some optional repertoire should be provided in conjunction with the students' interests so as to provide more favorable conditions for the students to better understand the traditional arts. The "1+X" approach was positively recognized by the experts.

Balancing traditional and modern theater

More appropriate ratio

Of the 15 Peking Opera cantatas that have been identified for teaching, there are as many as nine modern Peking Opera cantatas. Can modern Peking Opera represent the art of Peking Opera, which has a history of more than 200 years? Will it mislead primary and secondary school students' understanding of the art of Peking opera?

Tan Xiaozeng believes that Peking Opera is an easy-to-learn, easy-to-understand, step-by-step process, and that the catchy, clear-cut nature of modern opera is ideal for primary and secondary school students to understand and learn. Gao Gang, executive vice president of the School of Journalism at Renmin University of China, pointed out that "the role of art education at the basic education stage is comprehensive and different from general art education, which aims to give primary and secondary school students an understanding of the history of the evolution of the entire national culture, and guide and cultivate students' aesthetic sensibilities." He emphasized that Peking Opera in the classroom should take into account the principle of classicism in the art of Peking Opera, and the most classic chants should be included in the learning content.

Mei Baojiu believes that the spiritual connotation of traditional opera lies in "loyalty to the country, filial piety to parents, wanting to be righteous, first correct oneself, being kind and loving, and being righteous and courteous," and these spirits are more often embodied in traditional operas, "Mu Guiying Hangs Up the Marshalship, Chisanzhen," "General Xianghe" all have the same meaning as the traditional opera. The Generals and the Generals"...... all have good educational significance and can better represent the artistic height of traditional opera."

Wu Jiang, president of the China Peking Opera Theater, who participated in the selection of the repertoire for Peking Opera in the classroom, said that in the selection process of the cantata, combined with the characteristics of primary and secondary school students, the first thing to consider is the issue of the cantata's popularity and ease of learning. He pointed out that the proportion of modern Peking Opera is also a fact, which will be gradually adjusted in the next teaching practice. In the next phase of the pilot program, the proportion of traditional operas will be increased appropriately according to the students' learning situation, so that they will have a more comprehensive understanding of the traditional arts, the education ministry said.

Singing and appreciation combined

More scientific approach

According to the Ministry of Education, primary and secondary schools piloting Peking Opera teaching, the study of Peking Opera cantata will be incorporated into the teaching of music classes at the basic education level, and students will learn to sing 1 to 2 Peking Opera cantata per year. Can 1 cantata per year serve to promote traditional culture? Will students' understanding of traditional culture such as opera be too narrow?

"Appreciation is important in arts education, and appreciation and singing must be combined." Wu Zuqiang, honorary chairman of the Chinese Musicians Association, pointed out, "If you sing a few choruses and that's it, art education is too simplistic, and you don't have a good understanding or appreciation of Beijing opera." He also emphasized that the wonderful singing sections of local operas should be included in the appreciation, so that students can have a richer and more three-dimensional understanding of traditional arts.

Gao Gang pointed out that traditional arts education should be hooked up with the implementation of primary and secondary school language and history curricula, so that students can develop an interest in the nation's culture and performing arts through arts education, and comprehensively mobilize students' motivation to learn.

For the problem of teacher shortage in teaching, Chen Xiaoguang, vice minister of the Ministry of Culture, said there are 28 national and provincial Peking Opera troupes, which are far from meeting the national demand for teachers. He pointed out that it is necessary to adopt modern means of communication, relying on video and audio recording, and systematic training of existing music teachers, while popularizing multimedia teaching.