How do you see the traditional festival of Chinese New Year

The Traditional Festivals of Our Time Nowadays, everything is culture, but for a nation or a country, there is a difference between culture of identity and culture of consumption. For some cultures, we internalize them as belonging to us, they are the content of our self-identification, and we see them as intertwined with our lives. We sometimes don't feel that they are one with us, and we realize this very strongly once this oneness is shaken. With other cultures, we use them, enjoy them (often at a cost), and even like them very much, but we only value them for their utility, and when we're done with them, they're gone. Fashion, especially Hollywood blockbusters, is representative of this experience. The so-called "traditional festivals" that still live in our reality today should be understood as modern festivals with traditional attributes. We live in modern times, and some of our festivals, however traditional they may be, are ultimately more or less "modernized". Consciously realizing this, we will not only respect traditional festivals as "traditions", but also actively place them in modern conditions and develop them. The Chinese were forced to modernize after their national feelings were hurt. During this long campaign, the Chinese were often in a distorted and radicalized state of mind, accustomed to being outraged externally and radicalized internally. The forces of imperialism kept on suppressing and hurting us, and from then on we generated the pressure of struggle and at the same time the destructive force of self-injury, which kept on pointing to our own traditions. From the "Down with Confucius" to the "Destruction of the Four Olds," China's major and minor traditions, its elegant and secular culture, its canonical culture and way of life, have been "baptized" again and again. They have been "baptized" again and again. They exist in our reality and life in a one-sided and mutilated form. An example of this is what has happened to ancient traditional festivals and folklore in recent times. The achievements reached today by the Chinese struggle at the partial expense of their traditions have enabled the Chinese to look at their traditions in a healthier frame of mind. The proposition of treating one's traditions well has finally moved from the academic level to the political agenda. Recently, inspired by Korea's successful experience in preserving the tradition of the "Dragon Boat Festival", the Chinese people have been focusing on the issue of traditional festivals throughout the country. Today we have the opportunity to discuss and plan for the restoration and development of traditional festivals and folklore as a national cultural event with great fanfare. We may not be able to declare the Spring Festival and the Dragon Boat Festival as intangible cultural heritages of mankind now, but we can make some of the folk festivals major national festivals that are both traditional and modern under modern material conditions, and make them masterpieces of our traditions of treating ourselves well. The Spring Festival and the Dragon Boat Festival are included in the "Four Great Festivals" in folklore, but their status was not finalized until the modern era. After the Xinhai Revolution, the Republic of China (ROC) government, in an attempt to assert its modernity, gave up the official status of the "Summer Calendar" as a legacy of the dynasty, and adopted the "Gregorian Calendar" (Western Calendar) instead. The Republic of China (ROC) replaced the traditional imperial title, but instead of the summer calendar, January 1, 1912, the first year of the Republic of China (ROC) began on the western calendar. Before the Republic of China had formed its own holiday system, it had been happy to borrow traditional festivals as national legal holidays. in January 1914, the Ministry of the Interior of the Beijing government proposed in a submission to Yuan Shikai: "I would like to request that New Year's Day in the lunar calendar be designated as the Spring Festival, Dragon Boat Festival as the Summer Festival, Mid-Autumn Festival as the Autumn Festival, and Winter Solstice as the Winter Festival. All our nationals are allowed to rest, and public officials are also allowed to take a day off." Yuan Shikai approved the submission. January 1 of the lunar calendar gave up its original name "New Year's Day" and "New Year" to January 1 of the solar calendar, and was itself called "Spring Festival". At the beginning of the founding of the People's Republic of China, the Spring Festival was a national holiday, with a three-day holiday, longer than the National Day, Labor Day and New Year's Day. Although the Spring Festival was incorporated into the national system and was celebrated by all people year after year, all other holidays were ceremonial events organized according to the government's design, and had a natural internal consistency with the government's philosophy; only the Spring Festival was a legal holiday left over from the old society, and had an innate tension with the discourse of the times. Chinese New Year has been criticized for its worship (superstition), firecrackers (harm), and eating and drinking (waste). "Shortly after the Cultural Revolution, the State Council issued a circular on January 30, 1967, stating that in order to adapt to the revolutionary situation, and in accordance with the demands of the masses, there would be no more holidays during the Spring Festival. Newspapers across the country responded with a chorus of voices. Every year at this time for the next ten years or so, the newspapers made a big fuss, asking everyone to have a "revolutionary Spring Festival", that is, not to take a break for the Spring Festival, and to insist on "grasping the revolution and promoting production". On January 17, 1979, the People's Daily published a series of articles entitled "Why No Holiday for Spring Festival?" and "Let the Peasants Have a Good Spring Festival? and "Let the peasants have a stable year" as signals of the government's return to the Spring Festival vacation system. A few days later, some provinces and regions announced the resumption of Spring Festival vacations, and the whole country resumed the old system the following year. Over the past two decades of reform and opening up, people have gained more and more autonomy to control their own time and to organize their activities in private and informal public occasions. After so many years of spontaneous choices, traditional festival folklore has been revived to a great extent in both urban and rural areas throughout the country. The State, faced with the fact that the system of folk festivals has been revitalized, has made the Spring Festival a legal holiday and has extended the duration of the holiday somewhat. This adjustment was in the right direction, but due to limitations in understanding, the adjustment was far from being in place. The arrangements for the National Spring Festival Holiday do not fully take into account the needs of folk activities. For example, the holiday starts on the first day of the year, which does not make it easy for people to carry out traditional festive activities. The failure to provide time guarantee for the New Year's Day festivals and customs shows that it is not considering the New Year's Day from a traditional standpoint. If we look at it in relation to the example of the Dragon Boat Festival it is even more obvious that the state position has not changed to the point where the requirements of the traditional festival system are fully taken into account. We can infer that the potential of the Dragon Boat Festival at the present time is worthy of a more active and complete treatment of traditional festivals by the state. Unlike Japan and South Korea, the mainstream Chinese intellectuals in the process of creating a modern system of thought have taken the route of "breaking down the old and establishing the new," rather than creating a new culture through and with the help of tradition. This tendency is reflected in the way of life of the people by the stigmatization of traditional customs in order to eliminate "old customs and habits". Folklore is labeled as "feudal", "backward", "superstitious", it is impossible to play a positive role in the public space, but only in the margins of society, in a hidden, distorted form. The labeling of "backwardness" and "superstition" cannot play an active role in the public space, but can only exist on the margins of society, in hidden and distorted forms. In the most extreme periods, public folklore activities were even banned altogether. In fact, traditional holiday customs can be combined with modern lifestyles. This is the historical experience of many societies that have modernized first. We have been learning how the West creates new technologies without paying attentive attention to how others preserve traditions. Westerners use new technologies in the service of their inherent way of life, even though the result may still be a gradual change in tradition, while we obsessively sacrifice our inherent way of life for new technologies, even though the result is not a complete abandonment of tradition. The former path gives more happiness to ordinary people; the latter path gives more inferiority, confusion and loss to commoners. When we are materially inferior, we go out of our way to increase our efficiency in improving our material conditions at the expense of our cultural traditions. When we feel that our material life is close to that of a developed society, we need to find ourselves and our confidence by reclaiming our cultural life. Everything is culture nowadays, but for a nation or country, there is a difference between identity culture and consumer culture. For some cultures, we internally believe that they belong to us, they are the content of our self-identification, and we see them as intertwined with our lives. We sometimes do not feel that they are one with us, and once this oneness is impacted, we realize it very strongly. The intensity of the discussion around the Dragon Boat Festival in recent years shows that the festival is the culture with which we Chinese identify. For other cultures, we use them, enjoy them (often at a cost), and even like them very much, but we only value them for their utility, and when we're done with them, they're gone, kind of like we use water every day. We consume them and don't see them as intrinsically related to our nation. Fashion, especially Hollywood blockbusters, is representative of this experience. How cohesive and confident a ****some is depends on whether or not it has a sufficient culture of identity. Thus identity culture is invaluable to a nation-state. And identity culture is almost always traditional (perhaps there is a difference between old and new traditions). Among them, traditional festival folklore is a major part. We believe that traditional festival folklore can be fully restored and given a new lease of life with the help of modern material conditions and urban space. The key is to inject new resources and give new stages. For example, diversified development can be encouraged for the Dragon Boat Festival customs in different places. In the vernacular society, it is possible to restore the original face of the locality and maintain its original flavor. In urban societies, it is necessary to express the tradition of the Dragon Boat Festival customs with new material conditions. Affordable dumplings have come to the city, so can the auspicious fragrant buns. And more importantly, like dragon boat racing, can also come into the city. In the modern world, one way for a nation to show cultural confidence is to flaunt a specific sport that it is fond of. This particular sport should have a historical tradition in the country, a popular mass base, and preferably a better rivalry and spectacle. Nationals believe that only their own people play the most authentic, whether people from other countries follow the trend or indifference, can not sway the confidence and enthusiasm of the people. The United States has American soccer, Japan has sumo wrestling, Korea has taekwondo. Dragon boat racing is a better choice for China. Dragon boat racing is a collective sport with a broad mass base and a folk psychological backing (the so-called no race, no hair). It is a confrontational sport and a display of tradition and art. Dragon decorations, players dress up, the drummer's command, cheerleaders performances, can be a very "modern" art show. If this sport can be developed under the auspices of the Dragon Boat Festival culture, and in turn lead to the revival of the Dragon Boat custom, we will naturally be preserving an undisputed masterpiece of intangible cultural heritage of mankind. If it is truly in our society, in our lives and in our hearts, then whether it is on the Representative List or not is not an issue. While the various cultural companies are largely concerned with consumer culture, there is no shortage of people who are directly or indirectly creating a culture of national identity alongside consumer culture. National institutions and intellectuals should be devoted to the culture of identity. Although these institutions and people sometimes operate in the form of cultural commodities, they are duty-bound to build, enrich and develop the culture of identity of the nation, no matter in what way they do it. Promoting the revival and development of traditional festival folklore is an integral part of our fulfillment of this mission. If the people have spontaneously started the project of revitalizing festival folklore with their physical efforts since the reform and opening up, we have to consciously promote it today to give it a better chance to fit in with contemporary society.