Folk artists are closely linked with intangible cultural heritage. In recent years, Jiangmen City has carried out the general survey and declaration of intangible cultural heritage, and counted about 120 items of intangible cultural heritage in Jiangmen City. Among them, seven projects, such as Xinhui Kuiyi, Baisha Maolongbi, Xinhui Caili Buddha Boxing, Kaiping Pancun Lantern Festival, Taishan Pumice, Lotus Pond Salon and Taishan Yuele, have become national intangible cultural heritages, and there are 650 Heshan lion arts and ritual dragon boats.
Behind these intangible cultural heritages, there are many folk artists who play the role of inheritors and "supporters", such as Li Yanyuan and Li Zanjun, inheritors of Helan Lion Art, Feng Kunjie, inheritors of Xinhui Kwai Art, Zhang Ruiheng, inheritors of Baisha Maolong's pen-making skills, Zhao Ruqian, inheritors of Taishan Pumice, Deng Xikang, and inheritors of Dragon Boat Festival, Kuang Guoqiang and Kuang Zhi.
The person in charge of Jiangmen Wenguang New Bureau said that the representative inheritors of national and provincial intangible cultural heritage projects have mastered and carried the knowledge and exquisite skills of intangible cultural heritage, which is not only a treasure house of intangible cultural heritage, but also a representative figure of intangible cultural heritage passed down from generation to generation. Being selected as national and provincial intangible cultural heritage inheritors is actually the most effective way to determine the identity of these folk artists.
It is reported that Jiangmen's folk artists are mainly distributed in acrobatics and competitions, folk arts, traditional handicrafts, folk dances, folk music, folk arts, folk customs and so on, with hundreds of people, especially Li Yanyuan, Li Zanjun, Liao Huilin, Zhang Ruiheng, Zhao Ruqian, Kuang Guoqiang, Kuang Zhizai and other representative inheritors of provincial intangible cultural heritage projects. In addition, Li Yan, who made Xinhui fish lanterns, is the most famous.
Art lovers working in the countryside
Most folk artists in Jiangmen are active in Wuyi countryside. Many of them are older and generally have lower academic qualifications. They usually make a living by farming and fishing. For them, folk art is inedible.
Li Yanyuan, 69, and Li Zan, 56, from Huangwan Village, Hetang Town, Pengjiang District, are both inheritors of Hetang Shalong. Both of them are primary school students and make a living by farming. In addition, 76-year-old Kuang Guoqiang, 64-year-old Zhao Ruqian and 82-year-old Kuang Zhizai all live in Kaiping, Taishan and other rural areas, all of whom are older, primary school educated and farmers. Chen Honghuan is a middle-aged woman in Da 'ao, Xinhui. She sang a salty song in Birds of Paradise many years ago, but it didn't bring her much income after all. Therefore, her main business at ordinary times is farming and fishing. The reporter remembers going to Xijiang to catch clams with her a few years ago. I saw Aunt Hong slowly put more than 50 kilograms of clams into the water. The action was very skilled and there was no sound. Back home, Aunt Hong was busy cooking again. When everything is busy, Aunt Hong has time to sit down and sing some salty songs for us, and her son who is studying can sing a few words, which is taught by Aunt Hong. Aunt Hong and her husband set sail to see us off when we left. The reporter can't help but sigh that folk artists living in the hot land of overseas Chinese are as simple and kind as the land under their feet, loving life and art.
Although these folk artists have low academic qualifications, they are proficient in and love a certain folk art, and they can definitely be called versatile "cultural people" in rural areas, which makes the villagers respect them very much, especially those elderly folk artists, and they are indispensable for cultural activities in the village on holidays. Old folk artists have made outstanding contributions to enriching rural cultural activities and are highly respected.
Huangwan Village is a natural village in Hetang Town, Pengjiang District. Lotus pond sarong is an ancient folk art that originated in Huangwan. Li Yanyuan, an old man in this village, has been dancing for 50 years and is familiar with all the general and difficult movements in the performance. In the inheritance, it is mainly to teach the dance leader to be familiar with the production process of sarong. On the original basis, he has been constantly improving and innovating. At present, he is trying to use stainless steel instead of bamboo as the dragon body. He has participated in the performances of Lotus Pond Salon for many times, such as 1990 Macau Carnival Culture Festival, 2004 Overseas Chinese Carnival and Jiangmen Tourism Festival, and 2005 Guangdong International Tourism Festival, and won unanimous praise from the audience.
Zhao Ruqian, an old man from Fushi Village, Doushan Town, Taishan City, studied with Zhao Zhongguo, Zhao Bingpei and other predecessors since childhood. At present, he is the artistic director of the Pumice Floating Color Team, who is responsible for training the skills of female colored dolls, being familiar with the skills of making color cabinets and the knowledge of props, costumes and makeup, and setting up 10 color cabinets, such as the Goddess Chang'e flying to the moon, Zhaojun, Mu, and so on. Zhao said to him. From 65438 to 0999, the village of pumice was named "the hometown of Chinese folk art-the hometown of floating colors" by the Ministry of Culture, and Lao Zhao Man Ruqian contributed a lot.
Kuang Zhizai and Kuang Guoqiang, old people from Tangchunli Village, Pancun Township, Shuikou Town, Kaiping City, learned to tie lanterns for teachers in the 1950s. Since then, they have participated in the activities of tying lanterns every January. So far, they have tied 55 big lanterns. They are one of the few old artists in the village who can play lanterns. The lanterns they made in Pancun are exquisite in materials, exquisite in workmanship and exquisite in craftsmanship. They cut thousands of patterns with colored paper, and the decorative patterns of lanterns were also pasted on them.
An active explorer towards the market
Under the condition of market economy, people are more and more selective about cultural life, and their mentality is more and more impetuous. Is there room for folk artists to survive? Wang Changhuai, deputy director of Jiangmen Art Museum, met a large number of folk artists during his tenure as deputy director of the Municipal Group Art Museum. He said, "In fact, some courageous folk artists in our city have explored and innovated on the road of marketization." Lin, deputy director of the new bureau of Xinhui District, also believes that "development is the best protection."
Zhang Ruiheng's "Mao Longbi Painting Art Exhibition" is currently on display at Baisha Temple. Zhang Ruiheng once said, "I hope more people will make pens, so that there will be an atmosphere." Zhang Ruiheng is now the president of Zhou Gang Painting Academy, and began to learn Maolong calligraphy from 65438-0976. In the early 1990s, Zhang Ruiheng set up "Mao Longxuan" in Zhougang Painting Academy, established a pen-making culture exhibition hall, popularized Mao Longbi, created "Mao Mao Pen", won the first Guangdong Folk Arts and Crafts Bronze Award, and studied "Mao" painting under the guidance of Dr. Cui Deqi and professors. He has held exhibitions of Mao Long Pen and its calligraphy and painting in Macao Cultural Square, Jiangmen Art Museum and Sao Paulo, Reunion, France, and trained a group of pen makers. "Zhang Ruiheng has both artistic talent and market vision, and is good at innovation. Through his own efforts, he not only publicized Mao Longbi, but also publicized his own paintings and calligraphy. This is a win-win situation and an effective protection and development of intangible cultural heritage. " Wang Changhuai commented.
The same is true of Wu. He founded Wu Xinglong Ming Style Furniture Art Company in Gongyi Town, Taishan City, and recruited many folk artists to create wood carvings under his guidance. Its innovative design of Ming and Qing style art furniture has been collected by major museums at home and abroad, and won awards in various exhibitions, enjoying a high reputation in the domestic market. "Our customers are people with high income level, high education level and certain appreciation ability, so we are not only building furniture, but also building culture." This is Wu's positioning of the market.
Liao Huilin, general manager of Xinhui Kuixiang Traditional Handicraft Development Center, specializes in the inheritance, development and innovation of sunflower technology, and soon trained a group of young people. Sunflower fans and sunflower crafts in Xinhui have also become famous tourism products in Xinhui. When it comes to innovation, Liao Huilin said: "The future development direction of Kwai Art will gradually change from a practical handicraft to a pure collection of handicrafts, which may be the only way for Kwai Art to inherit steadily."
The road of marketization for folk artists is not smooth sailing, full of bumps and hardships, but also facing many difficulties and embarrassment. "Today's young people feel that they don't want to learn folk skills if they have no money to earn. They have to see the future of the market to attract them to learn and inherit. The survival and development of folk arts in the market is too weak to rely on their own strength. I hope that relevant government departments can truly attach importance to the market-oriented development of traditional handicrafts, implement preferential measures, and give more support to related enterprises. " A folk artist told the reporter earnestly.
Observers of Intangible Cultural Heritage
Folk artists in Jiangmen have always been enthusiastic about folk art, and no matter what the economic conditions, they have never given up their feelings. In addition, many people have taken their own positive actions to protect folk art and make it pass on. They are truly the most loyal watchers of Jiangmen's intangible cultural heritage.
Chen Bo, chairman of Jiangmen Writers and Artists Association, is a civil servant, storyteller and folk artist. He does not seek fame and fortune, but works quietly. He helped Mr. Chen Yifeng to build Wuyi Chinese Poetry Society, Longxi Poetry Society, Zhuyuan Poetry Society and Jiangmen Couplet Society, and went deep into the people, mingled with folk artists, vigorously excavated and promoted local folk art treasures, and spared no effort to inherit, protect and promote the intangible cultural heritage in Wuyi area. To Chen Bo's delight, in recent years, folk crafts such as wood carving, sunflower art, writing brush, bronze carving, stone carving and jade carving in Jiangmen City have stood out in large-scale exhibitions held in Guangdong Province, ranking among the best in Guangdong Province. "Our sunflower fans, brushes, etc. They are all very good handicrafts, and the Japanese like them very much. It would be nice if the relevant government departments could further do a good job in publicity and promotion. " Chen Bo has been thinking about protecting intangible cultural heritage.
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