Editor's note: More and more people come here and see a different Liangshan than they imagined. In three years, the three sessions of the Liangshan International Drama Festival have intertwined various cultures here, and also let people see Liangshan being infiltrated and changed by culture.
Winters in Xichang are warm and lazy. As long as the sun shines down, people don't want to move. Sitting in the library courtyard of Moxizishi or the site of the semi-construction site, everyone relied on his custom-made handmade wooden chairs and casually chatted about the "local culture" of Daliangshan.
The topic of discussion began because the Liangshan International Theatre Festival, which has been held for three years. It is also because moxizi poems have been planned for many years in the hometown library. As a Yi singer who came out of the wilderness of the mountains, he had traveled a long way in the outside world, and the idea of making a library for his hometown Liangshan had been around for a long time, and this wish of Mo xizishi had finally come true.
Halfway through the metaphysical topic, someone called up Moshizi to deal with the decoration. At this time, the first song he wrote in his life, "Don't Be Afraid", was playing on the torch square, and on the lawn, the local Yi people were dragging their families and basking in the sun.
On the other side of the square, in the Chinese Yi music industry base, Tang Qingshi, the music director of the Liangshan Symphony Orchestra, conducted the orchestra to prepare for the New Year's concert, and Figaro's aria, Verdi's "Drinking Song", and the national opera melody of "Liangshan is Beautiful Enough" echoed in the rehearsal hall.
In another rehearsal room a few steps away, actors dressed in Yi costumes are preparing for the performance of "Catching the Market". A few days ago, the performance of this original song collection at the Theater Festival surprised everyone. The mouth strings, the horse steps, the high voices of the Yi people, and the voices of the intangible cultural heritage in the depths of the mountains were all gathered in this room full of laughter and warmth.
Because of the theater festival, various Liangshan and outside cultures, appearing on a stage and in time and space at the same time, are seen by people from afar. Liangshan, which people remember, is the fertile land of poetry, the hometown of song and dance, and the place where the national culture is brilliant but also thick. But at this moment, tradition and modernity, national and international, various cultures are intertwined here, forming a new cultural background.
This is Liangshan, which surprised many people, a place that was still breaking free from "deep poverty" two years ago, a mysterious and distant ethnic region in the eyes of the world, and now strives to become a new coordinate of Chinese literature and art, and the sub-center of Sichuan literature and art in the future.
The Daliangshan International Drama Festival has been held for three consecutive years, the weekly uninterrupted Huimin Symphony Concert for 11 years, the library of Moxizi's poems in front of you, and the national music festival and film museum group that are in preparation. Whether in the private sector or officially, a curtain has been opened on cultural self-awareness and construction.
Self-identification with traditional culture and national culture, and acceptance and absorption of world culture, let this land, which was once surrounded by remote mountains and isolated, with 14 ethnic groups, begin to re-understand its own culture, rebuild a cultural self-confidence, and re-attract the attention of the world after getting rid of the label of poverty.
1. Moshizi poems
In the courtyard of the library in the afternoon, Moxi Zishi himself took a small shovel and planted several lovely sand plants on the edge of the earthen wall made of Dali Shaxi. For this somewhat voluminous renovation project that made him dizzy, for a long time, he stayed in Liangshan. "It's been so long that I suddenly feel like I should come back and do something."
Moshizi poems
The library is in the torch square in the center of Xichang, and after more than a year of "entanglement" with various trivial and complicated decoration matters, this literary and artistic space has begun to take shape. The metallic bar counter, the small exhibition space separated by glass, and the sunlight pouring in from the floor-to-ceiling glass windows on three sides.
According to Moxizi's vision, this is a library, a café, a space for cultural sharing, and a platform for cultural exchange. In the future, it will be possible to read, lecture, exhibit, paint, and hold concerts.
This is his dream all along, and it is also the "Wasteland Project" he launched many years ago. As a musician, Moxizishi brought Yi music to a farther and wider world. Now, he hopes to bring back what he sees and encounters.
Moxizishi planted plants in the courtyard of his library.
The library was originally intended to be built in the village of Baimiao in his hometown. Like many ancient civilizations in the process of modern society, the traditional culture and Yi customs of the hometown are gradually disappearing, and many Yi children no longer speak Yi. They are wandering away and cannot find their own cultural roots. Worried about the culture of his homeland, Moxizi always wanted to do something for his hometown.
"I want to build a different library in Daliangshan", which is the starting point of his "Wasteland Plan": "Some people say that Daliangshan is like a wasteland, barren, dull, and unchanged. But it is not a wasteland, just a fertile ground to be awakened. There is a need for a sense of identity and reconstruction, and the need to accept more foreign advanced ideas. It is necessary to make people here realize the importance of their own culture, find their own culture, inherit and develop national culture, and bring the culture of the Yi people to the outside world and connect with the world."
On the days of renovating the library, many performances of the 3rd Daliangshan International Theater Festival were performed in the torch square next to it. Moxizishi watches up close every day, thinking about the changes that culture has brought to a place.
In the past two years, he has spent more time in his hometown than in the past, drinking and barbecue with friends, chatting and basking in the sun, the happiness index is quite high, but after staying for a long time, he will still feel a little lonely, "unlike in Dali, you can stay alone, you can also find friends everywhere to chat about creation, there are good cafes all over the street, the atmosphere is very good."
Three years ago, when she learned that there was also a theater festival in her hometown, Moxizishi felt very happy.
In his view, Liangshan's culture is particularly rich, and there are many artists in Liangshan, but because of historical traffic, the culture here is very disconnected from the outside, and many times it is still in a state of self-congratulation. The theater festival can bring more new ideas and cultures, more artists, and exchanges between the outside world.
It was the same idea he had for a library. "I want to bring more of the outside culture back to Liangshan, so that more foreign cultures and local cultures can have some connection and interaction." Perhaps it can also stimulate our local young people and have a new collision with Liangshan's culture."
At last year's drama festival, he and his friends hatched a small play "The Other Three Dreams of Sunija", a work by Yi creators to tell the story of the Yi people. Director Nobu Thaw is a local actor who has studied drama, and he and Mo Xizishi once said in a chat that Liangshan finally has its own international theater festival, but it cannot only be imported works, and local creations are absent. The two hit it off. The work is staged in a black box, with little investment, but it is about the issue of contemporary Yi youth looking for identity between traditional marriage customs, contemporary social values, and personal ideals.
The theater festival has been held for three years, and Moxizishi feels the importance of "local culture": "'Local' is the soul of a place, and if there is no 'local' thing, it cannot expound the relationship with the local area." Music festivals, drama festivals, everywhere is the same. "And the drama festival in Liangshan should have local young people participating, local original dramas happening, and connections and exchanges with local people."
Back in his hometown, Moxizi would often return to the mountains. "I sometimes wonder why we Yi people always live so high. But when you really ascend to the top and look far, you will have a sudden enlightenment, and the whole person's heart is open. Maybe we Yi people have more contact with nature, and indeed there are some spiritualities in it. ”
At some point, he would suddenly understand why Daliangshan would come out with so many artists and poets.
He realized that as a native of Liangshan, he always had something innate. "One day, I will write songs for no reason, and I will write songs in my native language, which is recognized by everyone, which is the most unique place in myself, which allows me to find a kind of national self-confidence." 」 As a result, he found the direction of his own music, and began to pursue that kind of cosmopolitan music, a contemporary expression of himself and the Yi people.
At this moment, after a long walk, he stood in his library, hoping that more hometown people like him would regain this confidence and talk to the world.
2. Symphony Orchestra
For Moxizishi, Liangshan is the hometown, a warm land that will never be forgotten wherever you are. For Tang Qingshi, music director and conductor of the Liangshan Symphony Orchestra, Liangshan is a foreign country where he set off again after the age of 58, a place where he has gone on a pilgrimage for 8 years.
Liangshan Symphony Orchestra New Year's Concert
In May 2021, the Concert Hall of the National Centre for the Performing Arts, the 7th "Chinese Symphony Spring", a "Warm Mountains" concert was played. At the end of the concert, Tang Qingshi led the Liangshan Symphony Orchestra to stand up and greet. The applause from the audience was overwhelming and lasted seven or eight minutes. Many people can't imagine that in a place like Liangshan Prefecture, Sichuan, there is such a professional symphony orchestra.
"This is the first time in so many years that the orchestra has walked into a real concert hall." Before returning to the scene, Tang Qingshi and the audience introduced the orchestra, and the audience applauded again and shouted "You are worth it". On stage, there are musicians who are already in tears.
For 11 years, there were 50 concerts per year, each with a new repertoire. Rain or shine, thunder and thunder do not move, this symphony orchestra deep in the mountains has created a sustained record that is difficult for a big city orchestra to achieve.
Today, the number of performances of huimin concerts has been refreshed to 482, and the repertoire has accumulated more than 500 pieces. Every performance is difficult to find a ticket, the local audience quietly lined up in a long line to the entrance of the theater to collect tickets, and the performance scene was even more silent. Most people who come to Liangshan for the first time will be shocked when they see such a scene.
When it all started, it was a different story.
Winter of 2010. Liu Kang, who was the secretary of the Liangshan Song and Dance Troupe at the time and now the chairman of the Liangshan Cultural Tourism Group, saw the idle players in the troupe moving props and tables and chairs. "The artist's hand should touch the instrument." He reorganized the two-pipe orchestra belonging to the song and dance troupe and staged a "China Liangshan Yifeng Forest Concert" in Lushan, Xichang. The symphony resounded in the wilderness of DaliangShan, and the audience included melon seeds, answering the phone, and some monkeys from the mountain running down and sitting in the trees listening to music together.
Tang Qingshi had just resigned from his post as head of the Sichuan Symphony Orchestra because of a phone call from Liu Kang who had gone from Chengdu to help. He remembered that there were only twenty or thirty musicians at that time, and there were not enough people, so they borrowed some from outside and the concert was held.
Liangshan Symphony Orchestra's "Forest Concert" at the 2nd Theatre Festival
Because of the support of the government, the forest concert began to become a weekly concert for the benefit of the people in the second year. In 2013, Tang Qingshi received an invitation from Liu Kang again, hoping that he could come to Xichang and use his professional concept to make the orchestra up. Not an affiliate of a cabaret, but a true symphony orchestra. This time, Tang Qingshi thought for a long time. Finally decided to go to Liangshan and do a professional symphony orchestra.
This decision, to this day, still seems somewhat incredible. There is no symphonic foundation, no audience, no enough musicians. In such a minority area where the tradition of song and dance is developed, at the beginning, the resistance to engaging in symphony music was not small, and in the first few years, there was always a collision of ideas and struggles.
Tang Qingshi graduated from the Shanghai Conservatory of Music with a major in conducting, and conductor Cao Peng was his teacher. Prior to that, he served as the head and principal conductor of the Emei Film Studio Orchestra and the Sichuan Symphony Orchestra, and had professional ideas and experience in the management of professional symphony orchestras and the popularization of symphony.
Although I know it will be difficult, the actual difficulties are beyond imagination. Recruiting is the hardest part. The Liangshan Symphony Orchestra is the fifth symphony orchestra in Sichuan and the only symphony orchestra in China to be established in the administrative region of the autonomous prefecture. But for 8 years, the musicians have always maintained around 50 people. While a normal symphony orchestra, the composition should be at least 80 people. Some people come and some people go, and the orchestra is recruiting people 365 days a year, but it is not easy to recruit professionals who have graduated from the Conservatory of Music to Xichang and stay here.
Because of people's dissatisfaction, the other 4 symphony orchestras in Sichuan have people who have come to be "foreign aid", but even if they borrow people, Tang Qingshi is sometimes embarrassed to open his mouth, the ticket from Chengdu is too expensive, and it takes eight or nine hours to take a bus, and it takes eight or nine hours to find someone to help, often weighing. Sometimes, a player falls ill before the performance, which makes Tang Qingshi most anxious, and he can't find any filler, so he can only "hard perform".
The Liangshan Symphony Orchestra performed at the theatrical festival
The audience was initially ignorant of symphonies and theatre etiquette. Sniffing melon seeds, sleeping, snoring, cell phones ringing, children crying, drunk, in the beginning, everything happened in the theater. Mr. Tang said he was probably the only Chinese conductor who "scolded the audience": when someone snored, he asked his neighbor to wake him up and ask him out, and when a child cried, he stopped the performance and watched them.
Over time, the audience knew how to listen to the symphony. At the scene of the performance now, a needle can be heard falling on the ground. Before each concert preview, there will even be an audience "request", can you play Beethoven's "Symphony of Destiny" this time?
In the past 8 years, Tang Qingshi has always maintained an image of a "devil godhead", his training for the orchestra is extremely strict, and the rehearsals 5 days a week are high-intensity, except for the Spring Festival one-month holiday all year round. In his opinion, this is a helpless move, "the players who entered our orchestra were not technically good enough at the beginning, so they had to make more efforts." ”
The orchestra rehearses new repertoire every week to ensure that the audience can hear a different composition at each concert. They play all the world's famous symphonic pieces, but also the Symphony works of the Yi ethnic group. Tang Qingshi himself created many orchestral works with local Yi themes. The latest symphonic suite, "Warm Mountains", commissioned to four composers from the Sichuan Conservatory of Music, uses music to show the secular customs and historical changes of the Yi people in Liangshan.
Liangshan Symphony Orchestra performs "Warm Mountains"
"I hope that the Liangshan Symphony Orchestra is a professional orchestra, and no one else will look at it differently wherever they go, thinking that this is a normal symphony orchestra." Tang Qingshi's greatest ideal for this symphony orchestra is "professionalism".
Relying on the support funds of the government to benefit the people concert and the continuous support of the Liangshan Cultural Tourism Group, the Liangshan Symphony Orchestra has more than seven million funds to maintain its operation every year, although it may be the "poorest" and most difficult symphony orchestra in China, but Tang Qingshi always understands in his heart what the meaning of supporting him and the orchestra has been persevering.
"After a region has developed to a certain economic level, what else is needed? A person and a place, once they have good music and art, how much meat they eat, how much wine they drink, how many high-end cars they take and how big a house they live in, will be completely different spiritual levels. Moreover, symphony is the universal language of the world, and using this language to understand each nation and understand the world can achieve better communication. ”
The symphony orchestra brings a sense of pride to many Liangshan people. In the whole country, there have been free symphony concerts every week for more than a decade, and probably only Liangshan Xichang. Now, listening to concerts on weekends has become a regular part of life for many locals.
"I think we in the Liangshan Symphony Orchestra are ahead of similar regions in China. When it was still a poor area, it has been performing for the local people for many years and instilling elegant music, which is exemplary and thoughtful in the whole country. Maybe in another 10 years and 20 years, some similar places in China will remember one day that we should have a symphony orchestra in this place, but Liangshan is already far ahead of the country. ”
In Tang Qingshi's view, perhaps many people do not understand this meaning at present, but one day, everyone will find that there is a group of people who have begun to quietly lurk in the lofty mountains of the mountains very early on, doing such a valuable thing.
3. Catch the market
The Daliangshan International Drama Festival has been held for three years. More and more people come here and see a different Liangshan than they imagined.
The original ecological song collection "Catch the Set" was staged at the Drama Festival
This year, a pristine song collection "Catch up" let more people feel the artistic appeal of Liangshan's native culture through geography and time and space.
As the largest Yi community in China, Daliangshan has preserved the most traditional and complete Yi culture in the world. "Catching up with the market" is an important grand event in the thousand-year-old life tradition of the Yi people who live here, and people are gathering in the rush to buy, socialize, and celebrate, and express their lives with songs and dances. "Carrying music to catch the market" is also the creative concept of this original ecological song collection.
The creators and performers of "Catch the Gathering" are all Yi ethnic groups, and the team has selected more than 20 music songs from the native songs of the major dialect areas of the Yi people in Liangshan, strung together with narratives and rituals. The works are staged in the open-air Valley Theater, where Yi girls hold up yellow umbrellas to jump up dolohe, Bi Mo shakes the bell and recites the sutra, people work and live in music, the daily symphony of agricultural tools and utensils, the sound of flowing water birds and leaves blowing, the solo ensemble of ethnic instrumental music, the chanting in the depths of the mountains, reverberating in the mountains under the warm sun, bringing the audience a unique experience.
Dorojo in Catch-up
Yi musician Waqi Yihe is the artistic director of Catch The Gathering, the first Yi singer to explore world music, and a member of China's first ethnic minority group, the Mountain Eagle Group. In order to get these music in "Catch the Market", he and the creative team traveled to Meigu, Zhaojue, Butuo, Puge, Lei Bo and other places in Liangshan to find the Yi national music that still reverberated in the mountains but had not yet been discovered. While keeping the musical materials unchanged as much as possible, the rhythm and atmosphere of the modern music concept are used to construct them, so that the original ecological music can better adapt to the contemporary aesthetic.
The actors come from various dialect areas of the Yi ethnic group and spread throughout the Liangshan region. Various intangible cultural heritage of the Liangshan Yi people are also gathered in this performance, including Bimo music, high cavity, mouth strings, horse steps, moon organs, mouth bite flutes, sheepskin drums and so on. And these performers are the true inheritors of the Yi intangible cultural heritage.
Jili Moziza, from the depths of the mountains of Butuo County, Daliang Mountain, the inheritor of the high voice of the Yi people, her singing voice can penetrate time and space, bringing people the purification of the soul. In the eyes of her colleagues, Zizha is a living fossil of Yi folk songs, and she can almost sing songs no matter which dialect area she is. She herself said that she had not read books when she was a child, but liked to sing when she was doing farm work, and she liked the culture of the Yi people. At the age of 12, he won the doroho competition in his hometown and has since walked out of the mountains. When she first came to Xichang, she did not sleep all night, obsessed with studying and learning various Yi folk songs, and today, she has almost all the Music of the Yi people.
The 65-year-old Kegu is the inheritor of the yi unique bite flute, in addition to playing and making musical instruments, but also wooden leaves, mouth strings and various whistle skills, he comes from Meigu County, the most remote but best preserved intangible cultural heritage in Daliangshan, these intangible cultural heritage arts were passed on to him by his grandfather. But now, Kegu said, there are very few young people in the entire Liangshan region who can practice these ethnic instruments. The Yi gaolu of the Zizha lineage also faced a lack of successors.
Today, these non-hereditary inheritors have come to Xichang from the mountains and become actors of the Liangshan Cultural Tourism Group's Colorful Yunxia Intangible Cultural Heritage Team. There are 7 inheritors of the intangible cultural heritage team, who together with the Yi song team, perform in the countryside among the mountains all year round, and will also go into the theater to go abroad to promote and spread the voice of the Yi people.
Kegu, who used to work as a physical education teacher in a prefectural school, is now a professional actor and a full-time disseminator of intangible cultural heritage. He sighed that it is precisely because of such a performance team that these national cultures scattered in the depths of the mountains have been re-excavated, protected and inherited, and known by more people.
The consuls of various countries liked it very much after watching "Catching up with the market"
"Catching the Market" is a drama incubation work produced by Liangshan Cultural Tourism, and it is also an innovative expression of the Intangible Cultural Heritage of the Yi people. Liu Kang, chairman of Liangshan Cultural Tourism Group, was the "initiator" who gathered these non-hereditary inheritors from the mountains. He has a deep affection for the culture of Liangshan, and he has his own thinking on the inheritance and dissemination of Yi culture.
In his view, the culture of the Yi people has a kind of spiritual nobility and self-confidence, and their music and dance are an important expression of life. "Zhaojue once had a village that for hundreds of years produced the mouth strings of yi musical instruments. In the past, young men and women of the Yi nationality did not talk about love, but relied on the strings of their mouths. The music and dance of the Yi people is so powerful, in fact, it is a kind of cultural self-confidence. This is something that you can't see in the eastern and southern parts of China, based on material civilization and commercial civilization. They are not afraid of the cold, not afraid of the heat, not afraid of the mountains, not afraid of the depth of the water, they sing and drink all night around the fire, through poetry, music, and his clothing, there is an artistic expression of life. ”
In Liu Kang's view, traditional culture and national culture should be inherited and protected, and at the same time, they should be open, and they should be renewed and upgraded to become things that meet the needs of modern and contemporary aesthetics and market needs. And "Catch the Set" is one of the attempts, and this work has already received commercial performance orders as soon as it debuted. Many foreign friends like it very much after reading it, and the international market is ready to go.
At the same time, a non-genetic scheme of the Liangshan Yi people is also in the making. In Gukede, Zhaojue, the carnival of the annual Torch Festival, more children from Daliangshan will focus on training, learn traditional arts and skills from non-hereditary heirs, and show visitors the charm of Yi intangible cultural heritage.
4. International Theatre Festival
"Today's civilization and culture of mankind still need to be completed through communication, and this world must be made into a 'wallless' world." It is not that there are no national boundaries in the actual sense, but in the exchanges of spirit, culture and civilization, and in the interaction of human hearts, there should be 'no walls' and no boundaries. ”
Theatrical greenhouse on Torch Square
Three years ago, at the launching ceremony of the Daliangshan International Theatre Festival in Beijing, Ji Di Majia, one of the most influential international poets and initiators of the theatre festival in contemporary China, expressed his cultural yearning for the theatre festival.
As a poet who went from Liangshan to the world, Jidimaga also has his own expectations, "such a pure drama festival can form a better difference in Liangshan, so that some dramas that really focus on human life experience, dramas about the collective memory of the nation, can return to this place." ”
The theater festival is held in its third year, and the original intention of "letting the world see Liangshan, and also letting Liangshan see the world" has been realized. The kind of "no wall" that Jidimaga was looking forward to was also gradually approaching.
As the operator of the theater festival, Liu Kang also began to think more about the foothold and direction of the only international theater festival in western China.
"In western China, in addition to natural resources, the most favorable resources should be our nation, as well as traditions. The humanistic resources of the nation and tradition here are very well preserved, and its dramatic expression is actually its humanistic expression. Liu Kang said, "The roots of our theater festival are also here." ”
Theater education activities for children's stories theater
National drama and traditional drama constitute the theme expression of this year's drama festival "National Tide". Including the western premiere of the dance drama "Only This Green", it is hoped to show a new expression of national traditional culture.
In Liu Kang's eyes, Liangshan is a land with a literary and artistic spirit. There have been so many poets, musicians, artists. Liangshan's folk songs and dances are well-known throughout the country, and there have also been drama troupes, Sichuan opera troupes, And Peking Opera troupes, and various literary and artistic works such as musicals, dance dramas, operas, live-action dramas, film and television dramas have been born in recent years.
"This region has a very unique literary and artistic spirit, and at the same time this region needs a cultural self-confidence." Liu Kang said that in the past, due to the lack of communication with the outside world due to many reasons such as transportation, the cultural resources here were relatively closed. How do you pass on this spirit today, build this self-confidence, and achieve this exchange? The Theatre Festival is a great platform.
This year, the heads of important performing arts institutions across the country have come to the Liangshan Drama Festival, and art education institutions, including Chinese opera and Shanghai opera, have also set up educational bases in Liangshan, and awards activities such as the International Theater Director Award have also landed here. In Liu Kang's view, because of the platform of the drama festival, Liangshan can gather more people, including the country's top creative talents, performing arts resources and educational resources, and can produce more literary and artistic works, products and commodities belonging to Liangshan in the future.
Many years ago, performance artist Pu Cunxin came to Liangshan to do public welfare, and he saw mountains, poverty, disease and hardship. Many years later, he came here again, and what he could see was the blue Qionghai Sea, the warm sunshine, the perfect theater and hardware facilities, and the rich literary, musical, dance, and artistic achievements of various ethnic groups. This also prompted him to eventually become the first initiator of the Daliangshan Drama Festival. In his view, the growth of drama energy conservation in Xichang is no accident, and traditional culture provides a unique "fertile soil" for the Daliangshan Drama Festival.
Pu Cunxin and drama volunteers
Pu Cunxin, along with several other artists, participated in the theater education program of the festival this year, and plans to bring more small theater projects here for incubation next year. "We're going to incubate the local drama here and be able to perform for a long time. Only in this way can interaction be formed. It is necessary to make Daliang Xichang a base area and better promote the development of local culture. You can't be like a migratory bird that falls to the ground and walks away. ”
Pu Cunxin said that the original intention of holding the drama festival is to let more people come to Daliangshan, pay attention to Daliangshan, and make the cultural growth and development of Daliangshan more modern and have more room for development.
Li Ting, another initiator and screenwriter of the Liangshan Drama Festival, grew up in Liangshan, and her father was once a cultural worker of the older generation in Liangshan, and many of the old artists of the Liangshan Repertory Theatre and the Song and Dance Troupe were her teachers. Over the years, she participated as a screenwriter in the creation of Liangshan's first national opera "Yi Hong" and later "Hearing Soma", and was also the Chinese artistic director of Liangshan's first international cooperation musical "Dang Love". In her opinion, Daliangshan has its own literary and artistic spirit, which cannot be copied.
"Drama can take people's lives, cognition, aesthetics, including inspiration to a new level. Let Liangshan know the outside world, but also let the outside world know Liangshan, the Liangshan International Drama Festival is held to this day, this purpose we can say has been achieved. ”
In Jidi Maga's view, Liangshan has a long culture, is the largest Yi settlement in the country, and is also a place where diverse cultures meet. The festival reflects an openness, a cultural self-confidence. "There is a high-quality international cultural exchange that takes root here, providing a very direct window to change people's perceptions and enhance the understanding of the multiculturalism of different ethnic groups in the world."
The children's drama performances of the drama festival attract many parent-child families
In January this year, Liangshan entered the era of moving cars. In Liu Kang's planning vision, in the future, liangshan will have a cultural activity in spring, summer, autumn and winter. Spring is a grand festival of national music, summer is the feast of the Torch Festival, autumn is the gathering of the Qionghai International Poetry Festival, and winter is the occurrence of the Daliangshan International Drama Festival. "Music, intangible cultural heritage, poetry, drama, we use the four cultural fulcrums to support the Sichuan literature and art sub-center, use culture to promote tourism, realize the development of Liangshan's cultural tourism industry chain, and ultimately boost the social development and progress of Liangshan."