China's Papers on Traditional Culture

The primary task of protecting traditional festival culture is to record: "Our generation should record what we see, because it will change after many years, not now, especially now that there are more means, which can be recorded in words or by video. There are many historical values here. However, one problem that should be paid attention to in rescue is to maintain continuity. It doesn't mean that it will be finished after recording today, and it will still be recorded tomorrow. " Simple records only apply to the past tense, while paying equal attention to "protection" and "development" is "protection" in a greater sense. The Olympic Games held every four years has become a contemporary cultural event that people of all ethnic groups in the world are most concerned about. As we all know, it originated around 776 BC, when the ancient Greeks held the Olympic Games as a sacrifice to Zeus, the god of thunder and lightning. After more than 2,800 years of intermittent development and evolution, Wu Bingan commented that it "set the highest model for exerting the modernization effect of ancient folk cultural resources".

To understand and exert the "modernization effect" of traditional culture, we must first recognize its modernity, that is, its existing value in modern life. On this basis, "traditional folk cultural heritage should be screened to identify the potential modern value of some cultural resources, so that many of them are no longer' ancient fossils' or' historical residues', but cultural wealth that leads the past to the future." He also talked about many specific measures, such as promoting cultural protection legislation, establishing professional associations and specialized folk culture museums, and so on.

The topic of traditional festival cultural protection will continue. The reporter thinks it is better to combine "inheriting tradition" and "absorbing advanced" more closely. Unlike most young people, journalists like to listen to Beijing opera, but it is limited to some tracks. At the same time, I know very well that my love is not out of consciousness, not because Beijing opera is the quintessence of Chinese culture, but out of spontaneity. I think many excerpts from Beijing Opera are really "nice". It can be said that what infected me was the charm of Beijing opera itself, not the aura of "the essence of traditional culture" hanging over it. In my opinion, it is emotional and subjective to use "crisis" or "embarrassment" to describe the present situation and situation of Beijing opera. In fact, Peking Opera is just not as brilliant as before, and it has returned to its proper position in a specific period. In this process, Beijing Opera has lost its position in the past, but its real aesthetic charm and artistic value have not disappeared. Based on this judgment, I don't think Peking Opera will die out-at least not for a long historical period. And those parts that should be sent to the museum, just send them in. Traditional festivals-or the core values contained in them-will not die out, which is my opinion. I also welcome some "foreign festivals" and enjoy them. What is the need to reject the advanced culture embodied in "foreign festivals", such as the idea of "people-oriented"? (Fracture and Integration of Traditional Festival Culture in China-Southern Network)