[Urgent] The present situation, development and preservation methods of China folk art?

Viewing the Living Environment of China Folk Art from the Present Situation of Jiangshan

The folk art resources in Jiangshan, Zhejiang Province are profound and rich in content. There are nearly 100 kinds of traditional folk arts, which belong to 25 categories, such as 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 prospect of Jiangshan folk art is worrying, and some species are on the verge of extinction or in an "extinct" state. Mainly manifested in:

1, the living space of folk art is shrinking. Many folk troupes in Jiangshan can perform Wu Opera, Yue Opera and tea-picking opera. These troupes were submerged by film and television, and the living space of Quyi gradually became smaller. Now all these troupes have disintegrated. Before liberation, Taoist priests could perform Nuo opera and "Xujiang Ancient Music" when doing Dojo. Now the Nuo opera has disappeared, and only 78-year-old Zheng can hum "Xujiang Ancient Music". Octave 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, and all the actors who perform with him are seventy years of age. At present, Jin Zonghuai is guarding more than 40 puppet props.

2. Many traditional skills and folk arts are on the verge of extinction. Guangdu Hand Lion Dance, Wucheng Duanlong, Shangyu Tea Picking Opera, Xujiang Daole, Sidu Daoqing, Nianbadu Folk Song, Puppet, Mural, Paper-cut, Boat Lantern, Stilts, Shimen Pavilion, Changtai Lianxiang, Sanqingkou Porcelain Art, Wucun Fish Lantern, LAM Raymond Paper Zhar, LAM Raymond Shehuo, Jiangshan West and other folk art projects with important values and distinctive features. Among them, the mural art of Nianbadu and the social fire in LAM Raymond have been lost; Shangyu tea-picking opera and Guangdu hand lion dance are in an endangered state and will soon be lost. Most folk arts are paralyzed.

3. "Constructive" urban destruction and "exploitative" tourism have seriously damaged folk art resources. Bulldozers in the transformation of the old city pushed down and crushed a large number of cultural essences attached to the houses in the old city, such as brick carving, wood carving, stone carving and mural painting. Some ancient villages, blocks and buildings with historical, scientific and cultural values in rural areas were destroyed in the construction of market towns. Folk art resources have fallen into the swamp of economic development, and the damage is more serious. Seeing the huge business opportunities contained in folk art, some departments carry out the so-called "tourism resources" development under the banner of folk art. This kind of development behavior is either a "brain tonic project" that does not understand art, or a mercenary move that regards folk art as a cash cow, which often becomes a disguised form of destruction and devastation.

4. A large number of precious folk art objects and materials were destroyed. Due to the lack of folk and folk culture protection institutions and the lack of folk culture market management, a large number of precious folk art objects and historical materials have been lost abroad or even overseas. For example, some villagers in Chen Da Village, Chen Da Township don't know these commodities. In the 1990s, wooden doors with flower windows engraved with the China Zodiac were sold to foreign businessmen at a very cheap price, which was a great pity. Some precious heritages scattered among the people have been destroyed, endangered or even extinct due to poor protection or improper protection methods. Some unique folk customs and events, such as the custom of hanging "Lian Dao rou" when girls get married at the age of eight, 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 and the lack of modern scientific and technological means and carriers, it is impossible to carry out emergency rescue, which brings the danger of extinction. Without researchers, folk art can neither be scientifically and effectively protected, nor can it form fine products, 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 and 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, formulate relevant policies and strengthen rescue and protection work. Therefore, the following suggestions are put forward:

(a) to step up the development of folk art protection planning. We should focus on the long-term, base ourselves on reality, and step up the formulation of folk art protection plans in accordance with the idea of "protection first, rescue first, rational utilization and inheritance and development", so as to really 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 operable rescue and protection plans, implement protection measures and funds, and carry out systematic and comprehensive protection.

(two) to strengthen the construction of folk art inheritors. For endangered and valuable folk stunts, stunts and stunts, we should adopt key support policies to encourage apprentices to teach skills, so that folk stunts can be followed by others. At the same time, it is necessary to organize personnel to record and sort out, and use video, recording, text, photos and other means to save folk art materials as soon as possible; 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 into schools and classrooms, advocate the opening 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 incorporate them into the annual budget, which is mainly used for the investigation, collection, protection, utilization, personnel training and support of important projects and inheritors. 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 the living environment of national folk culture. While protecting the traditional national and folk culture, we should carry out the construction of ecological protection zones for traditional national 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 in protection and development. Actively innovate the carrier of rural cultural activities, often carry out mass cultural activities and festivals with wide participation and far-reaching influence, and guide these activities to combine with the development of folk art resources, which not only meets the needs of the masses for aesthetic 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 a symbol of a region's soft power, further improve the 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: Cultural Communication Network) (Editor/Gaoshan)

==========================

China folk culture and art industry is in the ascendant.

The seminar on the construction of China folk culture and art industry held recently in Lanzhou shows that China's traditional folk culture and art industry is in the ascendant: the employed population of folk art and related industries is12.74 million, accounting for 5% of the employed population; 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 proportion of added value to GDP is not

It's huge. In recent years, China Folk Literature and Art Association has responded to the call of the central authorities and adopted 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, we 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 craft fairs were held in Beijing National Culture Palace and China Agricultural Exhibition Hall respectively, both of which were successful. In September, 2004, the second international folk arts and crafts fair was held in Tianjin. More than 10,000 people from folk art groups in more than 40 countries and 27 provinces, municipalities and autonomous regions in China held art exhibitions, exchanges and exhibitions, which became an international folk activity. From June 5, 2004 to 10, the Qinghefang Folk Artists Festival and Art Exchange Conference was held in Hangzhou, China, attracting hundreds of thousands of people. In September this year, the China Collection Folk Craft Expo was held in Guangdong, and more than 5,000 people visited and bought it every day. In August 2003, August 2004 and August this year, China Changchun Folk Art Fair was held for three consecutive times, with a total turnover of more than 60 million yuan.

In recent years, 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 Sixth Folk Art Festival held in Yuci, Shanxi Province in 2004, the International Nuo Culture Art 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 on 10, and the National Folk Drum Music Mountain Flower Award held in Linfen, Shanxi Province all brought considerable economic benefits and positive social impacts.

The rise of folk art industry has promoted the rescue, research and protection of folk art in various places. For example, on the basis of discussion, the China Folk Culture Museum was established. Yu County, Hebei Province, established a Chinese paper-cutting art base; A research base for woodblock New Year pictures has been established in Hanting District, Weifang, Shandong.

Zhangmutou Town, Dongguan, Guangdong is named as the hometown of Kirin in China, Suixi in Zhanjiang is named as the hometown of lion dance in China, Linxia and Minxian in Gansu are named as the hometown of flowers, Qingyang is named as the hometown of sachets, Qingmiao in Yichang, Hubei is named as the riddle village in China, Tongbai County in Henan is named as the hometown of Pangu in China, and Fengfeng mining area in Hebei is named as the folk kiln in China and Handan research base. Minjian has named a number of folk art towns and folk culture inheritance bases for various places, which not only protects the local traditional folk culture brands, but also penetrates and extends to the economic market on the basis of inheritance.

======================

There is also a very good one, with pictures, which is not convenient to post. Give the address /cgi-bin/bbs/show/content? groupid = 10488 & amp； messageid=3 1797