Marshal Zhu De's descendant Takasaki: Tibetan opera should be preserved in its original taste

Beijing, 24 Jan (China Youth Network) -- Recently, Gesar's pioneering work of Tibetan opera, "Horse Racing claims the king," was performed at the Beijing Tianqiao Art Center.

"At the special moment when the Winter Olympics are about to be held, it is not easy to see Tibetan opera performances in Beijing, the actors come from thousands of mountains and rivers, I have been to Seda, I know that the journey is far away and difficult. The play is well written, the history of King Gesar is understood, especially good, thank you to all the cast members. Marshal Zhu De's granddaughter-in-law Takasaki, who has an indissoluble relationship with Tibetan culture, watched the performance at the scene and praised it.

Takasaki (first from right) watches the performance with his lover Liu Min (second from right). Courtesy of respondents

Takasaki once followed the revolutionary footsteps of his ancestors, seven into Ganzi and six into Batang. She had heard locals sing traditional Tibetan operas and dance Tibetan dances in Batang County. However, the experience of "singing the whole play in Tibetan, understanding the content by watching Chinese subtitles" is still the first time.

Takasaki has a lot of his own understanding of Tibetan culture. In the more than ten years of contact with Ganzi, she has learned Tibetan dances such as pot village, tap, and string. Takasaki also took the children of the Batang "Voice of Nature" children's choir to Beijing and Australia to perform and exchange, leading the children to go abroad for the first time. She believes that Tibetan opera troupes and choirs have something in common: the inheritance and dissemination of national culture.

"Tibetan opera is handed down from generation to generation by the nation, and children are cultural messengers in the new era, and they can communicate with the world through singing and music, and it is a mission and responsibility that has been passed down from generation to generation." However, compared to children and music that are easily accepted, Takasaki feels that the spread of Tibetan opera is difficult.

As far as Takasaki's feelings are concerned, if the audience does not understand the background culture, they may not understand it at all, and can only enjoy its characteristic musical melody and dance posture. Looking at the subtitles, you may not even understand the name. "There are differences in the subtitles as to which is the name of the name, which is the name of the throne, or the name of the title."

"We are interested in Tibetan culture and are willing to understand and communicate with each other." However, in Takasaki's view, if Tibetan opera is to be passed on, it should be preserved by the Tibetan people themselves and the descendants of the Tibetan people. "If Tibetan opera should be innovative and combine modern elements, I don't recommend catering too much, or doing innovation to change the original content in order to let others understand."

Takasaki believes that the most traditional and authentic is long-lasting and sustainable, and it is the characteristics of it to feel different. "The original taste must be left behind."

The characteristics of Tibetans are that they can sing and dance, they can sing when they can talk, and they can dance when they can walk. Takasaki hopes that Tibetan opera will use its own characteristics to make more people like Tibetan culture and remember the Tibetan people, such as dance movements, opera singing segments, costumes, etc., which can be displayed very well on the stage. In addition, Takasaki also made many suggestions for the promotion of Tibetan opera.

Takasaki once served as the secretary general of the Chinese Cultural Exchange and Cooperation Promotion Association, and when he led the children's choir to perform abroad as a social organization, it was "especially difficult to raise money by himself and go out on his own", and the troupe is still the only children's visiting group in Ganzi Prefecture.

Tibetan opera troupes often perform in other places on a spontaneous basis, with little financial support. In this regard, Takasaki suggested that tibetan theater troupes take the initiative to contact social organizations such as foundations, or cooperate with national policies to apply for projects. "Now the national 'Belt and Road' strategy requires cultural exchange groups to carry out cultural exchange activities that are in line with the hearts and minds of the countries along the route, then I think the countries along the route can go, the foundation can raise money, and then apply for a part of the fund with the government's cultural department, you can go out."

"But we must choose a good place, we must go to a place with a large audience, or we must have people with similar cultures to appreciate." Takasaki stressed. She said that in Southeast Asia, the audience may be a little larger, the beliefs are similar, it is easier to communicate, and more people will be willing to watch.

In terms of form, Takasaki believes that pure Tibetan opera is more difficult to appreciate. In the early stage, you can do some publicity work, such as a more detailed text introduction, so that the audience can understand the background culture and become interested in Tibetan opera, then the viewing effect may be better. At the same time, professional planning and publicity are also very important.

Takasaki told reporters, "Ganzi Prefecture ushered in the best time of development and leap after achieving the victory of comprehensive poverty alleviation, of course, cultural publicity is also the best opportunity period." Takasaki told reporters, "In the past, the gap was too big, they now have time, funds, and the ability to promote the national culture, how to do it, the local propaganda department and the song and dance troupe cast members need to think about the problem." "

It is worth mentioning that Ganzi County, Ganzi Prefecture, relying on the strategy of poverty alleviation, built a Gesar Royal City with the integration of industry and city, and opened Gesar Airport. In Ganzi there is the Jude and Geda Living Buddha Memorial Hall, and there is the former residence of Jude. Takasaki used to tell red stories to his students, and now that the children are older, they often say that they want to contribute to their hometown, which makes Takasaki feel that the red inheritance work he has done is particularly meaningful. She also hopes that the children can inherit the Tibetan culture and ethnic traditional culture. "What happened to the real King Gesar?" Children should also know that this is a national hero. Takasaki said.