Media reporters appreciate Lu Xiu culture. Photo by Li Mingrui
Jinan, China News Network, December 24 Title: Shandong craftsmen push out the old and new to help the intangible cultural heritage "break the circle" and stand
Author Li Mingrui
Intangible cultural heritage is known as "human life memory" and "living cultural gene", but in the past two years, due to the impact of the epidemic, the cultural tourism industry has suffered a blow, and the national temple fairs and fairs have been greatly reduced, intangible cultural heritage exhibitions and performances cannot be carried out, and the living conditions of enterprises and inheritors have been affected. In the face of difficulties, Shandong non-hereditary inheritors have faced difficulties and sought new ways out through cross-border integration, exchanges and mutual learning.
In the past few days, the reporter has followed the media tour of the Fifth Shandong Culture and Tourism Consumption Season sponsored by the Department of Culture and Tourism of Shandong Province to visit Jinan, Tai'an, Dezhou and other places, appreciate the colorful intangible cultural heritage in various places, and witness the non-genetic inheritors sticking to traditional crafts while innovating and promoting the "breaking of the circle" of intangible cultural heritage.
Media reporters personally experienced Tarzan shadow puppetry. Photo by Li Mingrui
"Intangible Cultural Heritage + Creativity" tradition has become fashionable
Stitching and closing, the needle and thread danced on Dai Jun's fingertips. "Originally, I wanted to have a job to support myself, but during the 20 years of cutting and embroidery, as the craftsmanship matured, I also deeply experienced the boiling heat of national feelings - the national costume contains the soul of the country."
Dai Jun, who was born in the Lu embroidery family, is the inheritor of the national intangible cultural heritage of Lu embroidery. At the age of 15, he followed his grandmother to learn Lu embroidery skills and qipao production, and in the past 30 years, he has tailored more than 2,000 qipao and Chinese clothing for hundreds of customers, committed to the inheritance and promotion of Lu embroidery.
However, inheritance is not static, and in the face of the "cold winter" experienced by non-genetic inheritance, Dai Jun deeply feels the importance of innovating the old. In addition to making qipao and Chinese clothing, Dai Jun also relied on Lu embroidery to produce a series of cultural and creative products, including tuan fan, stationery, etc., and gradually combined modern elements to make young people more interested in traditional crafts. "These objects are small but meaningful, carrying traditional cultural connotations. It is also hoped that through these works, young people will understand and love Lu embroidery and traditional culture. ”
Dai Jun said that in the past, he often traveled to and from home and abroad for old customers, but now affected by the epidemic, he cannot tailor for overseas customers and can only operate remotely. "Only through video calls and a few key sizes, the same Can make a Lu embroidered cheongsam that satisfies foreign friends, and in this process, I also deeply feel everyone's love for China's intangible cultural heritage."
Craftsmen perform the technique of gold wire color paste on the spot. Photo by Li Mingrui
"Intangible Cultural Heritage + Poverty Alleviation" drives employment
The peony figure with flowers, the dignified "Statue of Confucius", the huge "Songhe Yannian"... In the studio of more than ten square meters, there are nearly 100 exquisite gold silk color paste works hanging, and Ma Li is working on the case.
Since childhood, Ma Li has developed a strong interest in gold silk pastes, and after marrying into the family of gold silk pastes, she has devoted herself to learning, and actively promoted the application for the art of gold silk stickers with her family, and created the original gold silk color paste painting process. "However, with the progress of society and the development of science and technology, young people's interest in gold wire color stickers is weakening, and some people who are interested in gold wire color stickers cannot make a living from it, which also has an impact on the inheritance of gold wire color sticker skills."
"I learned that many laid-off women workers and unemployed women do not have the ability to get rid of poverty and still like the gold silk color stickers, so I came up with the idea of making the gold silk color stickers into an industry to help alleviate poverty." In Ma Li's view, doing what she likes is a very happy thing, and it can also lead more people to get rid of poverty and become rich. Ma Li and her family set up a company to train women to learn intangible cultural heritage skills, and have solved the employment problems of more than 30 unemployed women and laid-off employees.
At present, the golden silk color sticker has been successfully selected into the fifth batch of provincial intangible cultural heritage representative projects in Shandong Province, and the gold silk color sticker works of ma Li's family have won national patents and more than 30 copyrights for many times, and have been accepted as the landmark products of the conference by the Fourth World Conference on Women.
Intangible cultural heritage exchanges and mutual learning promote cultural inheritance
"Since 2009, I have performed nearly 3,000 Taishan shadow puppets, and have performed and cultural exchanges in more than a dozen countries and regions such as the United States, France, South Korea, Hong Kong, and Taiwan." In recent years, Fan Weiguo, the seventh generation inheritor of Taishan shadow puppetry, a national intangible cultural heritage, has actively displayed the charm of Taishan shadow puppetry and Taishan shadow puppet crafts.
Fan Weiguo learned Taishan shadow puppetry with his father when he was a child, and now as the inheritor, he has paid a lot of effort and effort. "In order to keep Tarzan shadow puppets up to date, we have integrated a lot of modern elements into the traditional repertoire, creating modern plays such as "Where Has Time Gone", so that the works are closer to the preferences of young audiences. On the basis of the complete preservation of Taishan shadow puppetry techniques, performance techniques such as Xihe Big Drum and Shandong Sibanshu have been widely absorbed. ”
"Non-hereditary inheritors should have cultural self-confidence, absorb the symbols of popular languages in the world today, and promote the internationalization of Chinese folk art." Fan Weiguo said. (End)