text/ Meixingwu
Sai Fuding Ai Zezi is an outstanding social and political activist well-known to the public. He has served as an alternate member of the Political Bureau of the 10th and 11th CPC Central Committee, Vice Chairman of the Standing Committee of the First to Seventh National People's Congress, Vice Chairman of the Eighth National Committee of the Chinese People's Political Consultative Conference; First Secretary of the Party Committee of the Xinjiang Uygur Autonomous Region, First Political Commissar of the Xinjiang Military Region, First Political Commissar, First Political Commissar of the Xinjiang Production and Construction Corps, and Chairman of the Autonomous Region Government. Mao Zedong called him "the leader of Xinjiang." Less well known is that he is also an outstanding writer and poet. Then let’s see Sai Fuding as a literati.
reveals literary talent
On March 12, 1915, Sai Fuding was born in an enlightened and patriotic businessman family in Atush, Xinjiang. His father liked music and poetry and advocated new education. Sai Fuding was influenced by subtle influence and loved reading since he was a child, so he loved literature and music, and became a lifelong hobby. After graduating from high school, he was selected as secretary of the Kashgar Administrative Office. In 1934, new education emerged in the Atushi area. At the invitation of friends, Sai Fuding quit his job and served as the principal and teacher of the primary school.
At that time, the Xinjiang government controlled by Shengshicai pursued the policy of "alliance between Russia and the Communist Party" and sent a group of Xinjiang youth to study at the Central Asian University of Tashkent, Uzbek, and Sai Fuding was one of them. During his stay in the Soviet Union, he received education in Marxism-Leninism, laying the ideological foundation for striving for the cause of liberation of the Chinese people. At the same time, he also read many famous works in poetry, novels, prose and literary theory, and was influenced by literature and art. At the end of 1937, Sai Fuding graduated and returned to China. While attending the Dihua (Urumqi) political training class opened by Sheng Shicai, he boldly made remarks criticizing the authorities. He was regarded as a "radical youth" and was sent to the Tacheng Branch of the Xinjiang Daily, Border Tacheng. Sai Fuding feels that the newspapers can deal with texts and get in touch with society, which is very consistent with their aspirations.
Sai Fuding is cautious in his life and works hard in the newspaper. He does the proofreading work arranged by the newspaper with meticulousness, and also learns Chinese from Han colleagues in the newspaper. After work, he devoted himself to studying, studying business, and striving to become an editor as soon as possible. Hard work pays off. A year later, he became the editor of the Uyghur version of Tacheng Daily. He went deep into the people and understood the situation at the bottom of society. The mass and news-based pages he edited were significantly improved, and were popular with readers, and the circulation of newspapers was significantly improved.
◆Saifuding·Aizezi
From this time, Saifuding's literary talent was demonstrated. Like most literary youths, he also started with writing poetry. In 1938, a poem he created, "United Front", was published. He used the language of poetry to appeal to the people to establish the widest anti-Japanese united front of all ethnic groups and all walks of life, and cut off the iron hoofs of the Japanese invaders who ravaged our beautiful rivers and mountains, which aroused strong resonance among readers. As a result, some of his passionate poems were published in newspapers and magazines such as "Tacheng Newspaper", "Revolutionary Youth", and "New Life", causing a lot of sensation in Tacheng .
This further inspired Sai Fuding's enthusiasm for creation. His short story debut "Orphan Tuoheti" was published in the New Life newspaper. The work tells a shocking tragic story. When the dam was about to break, Uyghur farmers were bewitched by superstition and buried an orphan under the foundation of the dam to achieve safety of the dam. The result was contrary to their wishes. This work is the first novel with modern significance in the history of Uyghur literature, opening a new beginning for the development of ancient national literature. After "Orphan Tuoheti", he published five novels including "Two Views", "Contemporary Slaves", "Painful Memories", "Relics", and "Glorious Sacrifice". "Relics" and "Glorious Sacrifice" are works based on the theme of opposing Japanese aggression, revealing a strong patriotic color.
As a literary youth, Sai Fuding became famous in Tacheng. He was hired as a part-time teacher by an girls' school, teaching courses such as Uyghur language, politics, current affairs, history, etc.He was also invited to participate in the work of the Tacheng Uyghur Cultural Promotion Association and was elected as Vice President and Secretary-General. Under the organization of Sai Fuding, his colleagues at Tacheng Girls' School and literary and artistic enthusiasts among the students came together happily, adding fresh blood to the Weiwen Club. At that time, the art form that had the most direct and influential to the masses was drama, so Sai Fuding took the lead in establishing a performance team. Sai Fuding is young and handsome, talented, and very popular among girls. One of the intelligent and beautiful Uyghur girls walked into his vision. Her cheerful and enthusiastic personality and positive and enterprising spirit deeply attracted him. Her name is Ayimu. Sai Fuding created a one-act play script "September 18" for the performance team, which shows the story of a female guerrilla team bravely resisting Japan during the Anti-Japanese War. He chose Aimu to play the leading role. They made their own props, brought their own costumes, directed and acted by themselves, and soon launched this small drama. Due to the good plot and the actors are devoted, people from all walks of life in Tacheng praised him.
◆The young Sai Fuding couple has a deep affection.
In March 1939, Sai Fuding married Aimu, who was still a student, in Tacheng and lived with Aimu's mother and sister-in-law. Although his life was poor, their relationship was sincere. After Aimu graduated from girls' school, she joined the performance team. Saifuding wrote the script and Aimu acted. The couple fell in love with each other. The performance team of
performed another large-scale drama "Blood Stone", which reflects the story of the heroic resistance of the Northeast military and civilians, and was once again welcomed by the people of Tacheng. Then, they created and rehearsed the performance team and other plays, such as "Glorious Victory", "Uninvited Guest", and "Fighting Girl", which further improved the influence of the performance team. Saifuding also translated the world-famous play "One Servant and Two Masters" by Italian playwright Carlo Goldoni, and "The Landlord and Servant" by Uzbekistan playwright Hamza Ikum Zada, etc., directed and acted on the stage. The Soviet Consulate and Suxin Trading Company also invited performance teams to perform special performances. The Soviet Consular was very familiar with the art form of the drama and praised it repeatedly.
Whether it is poetry, novels, or dramas, Sai Fuding's creation insists on shouting and praising the times, accusing the darkness of the old society, resisting class exploitation and oppression, opposing Japanese fascist invasion, and seeking people's liberation.
1942, Sheng Shicai abandoned the policy of "alliance between Russia and the Communist Party" and turned to anti-Soviet and anti-Communist, and carried out a large-scale purge. Sai Fuding was a student who stayed in Jiangsu and was exiled, and was the first to be affected in the Great Purge. In January 1943, Sai Fuding was kicked out of the Tacheng Newspaper, and the positions of vice president and secretary-general of the Uyghur Association were also revoked. In order to support his family, he ran a tailor shop and worked as an handyman in the park club . But in the end, even the job was deprived, so I had to make a living by selling clothes and furniture.
Suddenly one day, Sai Fuding was arrested by the authorities and forced him to explain what tasks he had accepted in the Soviet consulate and why he wrote an article praising Lenin. Sai Fuding refuted it sternly. Later, after being jointly issued by people from all walks of life, the police station had to release him. Because the police often come to harass the house, Sai Fuding can't find a job at all, and life is even more difficult. But all this did not crush Sai Fuding, but instead gave him a clearer understanding of the prosperous times and enhanced his yearning for revolution.
can't stay in Tacheng anymore. In June 1943, Sai Fuding moved his family to Yining . He resolutely devoted himself to the torrent of the revolution, and in 1944 he participated in the "three-zone revolution" that broke out in in Yili, Tacheng and Altay in Xinjiang, and became one of the revolutionary leaders. The rapid development of the "Three District Revolution" forced the Kuomintang government to conduct peaceful negotiations with the Three District Revolutionary Provisional Government in October 1945, and established the Xinjiang Provincial Democratic Alliance Government, and Sai Fuding became a member and director of the Education Department.
Inheriting the national treasure
In September 1946, Sai Fuding led the third election team of the Provincial Election Committee to Kashgar District, southern Xinjiang to participate in the election of senators and county magistrates at the provincial and county levels. During this period, the local theater troupe arranged several performances for the selection group, including Uyghurmukam.Sai Fuding was born in southern Xinjiang and was influenced by Mukam art since childhood. This time he was fortunate to appreciate the exquisite performance of Turdiahong, a master of Mukam art in southern Xinjiang. Mukam, also known as Twelve Mukam , is composed of seventy-two sets. It takes two hours to play one mukam, and it takes 24 hours to play Twelve Mukam. Sai Fuding listened to Turdi Ahhong playing Mukam, and every word was like a gem, floating across his ears and penetrated into his soul. He was deeply attracted by Mukam's artistic essence.
After the brief coalition government was broken, Sai Fuding returned to Yining, the revolutionary center of the third district. He was concerned about this treasure of the traditional Uyghur music and dance art and tried to receive Master Turdi Ahong to Yining, but failed to do so.
At the beginning of the founding of New China, Sai Fuding served as Vice Chairman of the Xinjiang Provincial Government and Deputy Commander of the Xinjiang Military Region. During his visit to the Soviet Union with Mao Zedong, he was allowed to visit several franchise republics of the Soviet Union. During his talks with the first secretary of Azerbaijan , the other party talked about the Xinjiang music treasure Mukam worth collecting and sorting, which touched him very much. As outstanding successors such as Turdi Ahhong are getting older, Mukam art will be on the verge of losing. After returning to China, Sai Fuding put this matter on the agenda. However, Xinjiang Province wants to complete this huge artistic project, which lacks both professional music talents and funding guarantees. In 1951, when Sai Fuding reported the situation in Xinjiang to Zhou Enlai in Beijing, he suggested that the country provide support in human, financial and material resources to save Mukam, a treasure of Xinjiang folk music and dance art.
◆ Uyghur artists play twelve mukam.
Under Zhou Enlai's care, the Ministry of Culture allocated special funds to Xinjiang, selecting young scholars from the Research Department of the Central Conservatory of Music, 0,000 Tongshu and Lian Xiaomei and his wife from the editor of the People's Music magazine to go to Xinjiang. With Wantongshu as the group leader, musicians and composers Lu Ji , Liu Chi , Liu Feng and relevant personnel from Xinjiang participated, and the Twelve Mukam sorting working group was established. Saifuding provided them with all conveniences and brought Turdi Ahhong and several other outstanding folk Mukam artists to live in Urumqi. Turdi Ahhong and several other old artists discussed their skills together. Wan Tongshu and others listened to the old artists singing while recording with a recorder. During this period, Turdi Ahong returned to Kashgar twice, and his work also paused. After Sai Fuding learned the whole story, he sent someone to take his whole family to Urumqi to properly resettle, which deeply moved the old artist and devoted himself to work. Turdi Ahon took his son Kawuli, one played hand drums, and the other was Lhasatar, and he sang for two months. In October 1951, 24 tapes were recorded in the first phase. Wantongshu compared the recording and notation, and repeatedly supplemented and revised the scores, and continuously improved the twelve Mukam scores. By the time Turdi Ahhong passed away in 1956, the artistic treasure of Mukam was successfully rescued. Later, after extensive collection and sorting, it integrated the book "Twelve Mukam" (Volumes 1 and 2), which was published by China Music Publishing House in 1960, realizing the sublimation of Mukam art from oral inheritance to textual inheritance.
After that, Saifuding considered how to bring Mukam art to the stage and provide elegant national spiritual food for people of all ethnic groups. In 1959, the Xinjiang Drama Troupe created the modern music drama "Follow Chairman Mao step by step" based on the theme of Hotan turnaround farmer Kurban Turum several times and wanted to ride a donkey and bring gifts to Beijing to visit Chairman Mao Zedong. In the end, the real story of realizing his wish was realized as the theme. It created the modern music drama "Follow Chairman Mao step by step" with Mukam as a musical material, and went to Beijing to attend the 10th anniversary of the National Day literary evening as a tribute program. Sai Fuding watched it on the spot and wrote two drama review articles, published in the People's Daily and the Guangming Daily respectively, which not only inspired all the crew members, but also expanded the publicity of Mukam's art.
1965, on the occasion of celebrating the 10th anniversary of the founding of the Xinjiang Autonomous Region, the relevant departments of the autonomous region planned to create an song and dance drama .After listening to the report, Sai Fuding said angrily to the head of the cultural department of the autonomous region: "How many times have I told you to bring Twelve Mukam to the stage? Why aren't you moving? Do you have to wait until I die before doing it?" So, a large-scale song and dance "Long Live the People's Commune" with "Oshykmukum" in Twelve Mukam as musical material was compiled and created. Sai Fuding instructed the selection of the best singers, dancers and bands from art troupes across the district, and concentrated on rehearsing in Urumqi City. When this large-scale song and dance was first publicly released at the 10th anniversary celebration party of the Autonomous Region, it was highly praised by the central delegation led by He Long.
◆Xinmukam large-scale singing and dancing "Long Live the People's Commune" program list.
In January 1978, Sai Fuding left Xinjiang to Beijing and served as the vice chairman of the Standing Committee of the National People's Congress. He was still concerned about the development of Mukam's artistic career and said: "Mukam is the essence of Uyghur folk music art and the soul of Uyghur spiritual civilization." He talked many times with Wang Meng , the then Minister of Culture, that he hopes to create an symphony based on the musical materials of Twelve Mukam, which can go to the whole country and contribute to the world. With the care and support of Saifuding, the "Biat Mukam" system has been completely moved to the fourth national "Voice of China" stage. Subsequently, Mukam's singing and dancing art performed in more than a dozen countries and regions including the United Kingdom, Pakistan , Sweden , Germany, Poland , Belgium , Turkey , Austria, Japan and Central Asia. It has been warmly welcomed by audiences from all over the country and has attracted the attention of experts and scholars in the world's music industry.
In November 1992, the State Ethnic Affairs Commission, the Ministry of Culture and other departments and the Xinjiang Autonomous Region Government jointly hosted the "China Uyghur Mukam Series Activities" at the Great Hall of the People in Beijing. Sai Fuding delivered a speech entitled "Strengthening the Research on Mukam Art and Promoting the Culture of the Chinese Nationality." The Mukam Symphony Special Concert, Mukam Art Academic Seminar and Exhibition Events further expanded the influence of Mukam Art.
Not only that, Saifuding also invested in the specific research and exploration of Twelve Mukam. In the spring of 1989, while undergoing cardiac surgery in Hawaii, USA, he compiled a monograph " on Uyghur Mukam ", which collected his many years of research results. It was published by People's Music Publishing House in October 1992, making new contributions to the inheritance of twelve mutkam.
On November 25, 2005, two years after Saifuding's death, Mukam Art was approved by UNESCO as the third batch of "Representative Works of Oral and Intangible Heritage of Humanity". The long-form TV series " Mukam Past " invested and filmed by Xinjiang Tianshan Film Studio has appeared on CCTV's program as a tribute work for the 60th anniversary of the New China. This is the best commemoration of Saifuding, who has made an important contribution to the protection and inheritance of the 12 Mukam art.
Creative booming period
Sai Fuding is very busy with government affairs, but after work, he never put down his pen to create. After the founding of New China, his creations entered a new theme, which was to praise the Party, the people, the New China, and the New Life. In the 1950s, he created reportage and close-ups such as "The Joy of Turdi Kasmu" and "Festives of the Peasants", "The Dough", and the Road to Struggle, and published the script "The Journey of the Fight" (1959). In the early 1960s, he created essays, novels, and poems such as "The Tweet of the First Train", "Take Fly, Yili ", and "Mother". In the 1970s, he created prose poems and poems such as "Kestaffe", "Sing, Lark", "Salam, Pahetarik", and published the essay collection "Echoes of Bogda Peak" (1973), and the poetry collection "Song of the Storm" (1975). In 1978, after he served as the vice chairman of the National People's Congress, his work burden was relatively reduced. At his 60s, he entered a period of explosive literary creation.When studying the history of the Twelve Mukam, Sai Fuding discovered that the medieval Yarkand Khanate Princess Amanisha Khan devoted his life to editing the Twelve Mukam and was respected by the Uyghurs as the "Mother of the Twelve Mukam". As early as the 1950s, Sai Fuding had the idea of creating a large-scale musical historical drama based on the legendary life of Amani Shahan . Due to the official business, it was difficult to implement it, but he paid great attention to the accumulation of related materials. In the early 1980s, he had the time and energy to concentrate on his creation, and finally completed the musical historical script "Amanisha Khan", which had been prepared for many years, artistically restored this historical figure, and was published publicly by National Publishing House in 1983. After the work was published, it caused a strong response among the Uyghur people. Later, he adapted the stage play into film literary script , which was jointly filmed by Tianshan Film Studio and Tianjin Film Studio into a feature film. The melodious, thick and simple melody of the Twelve Mukam throughout the play, showing the excellent traditional culture of the Uyghur people. It is not only loved by Uyghur audiences, but also plays an irreplaceable role in understanding and understanding the history and culture of the Uyghur people. In 1994, the film won the National "Five One Project" Outstanding Film Award.
◆Sutuk Bugrahan, published in 1987.
The success of this work prompted Sai Fuding to focus his creation on profound historical subjects. He began to conceive the creation of the historical novel "Sutuk Bugra Khan", who was the third Khan of the Karakhan Dynasty in the medieval Xinjiang. The Uyghur belief in Islam has a direct relationship with him. Due to the age of time and lack of information, it is very difficult to create. Sai Fuding devoted a lot of effort to it. He returned to Xinjiang to collect relevant historical materials without hesitation. From the perspective of a politician, he carefully studied and analyzed the principles of removing rough and essence, removing false and retaining the truth from the perspective of historical materialism. He had a comprehensive grasp of the politics, economy and culture of the Uyghur people during that period. He described the protagonist Sutuk regaining his own throne from his uncle Orguchak, and finally passed the throne to his eldest son Bayitash for nearly half a century, artistically recreating the medieval social life of the Uyghur people.
After the publication of "Sutuk Bugrahra Khan" in 1987, it immediately caused a strong response among Uyghur readers and won the third (1985-1987) National Minority Literature Creation Award, believing that "it provides us with comprehensive and rich knowledge about the material and spiritual and cultural conditions, ideological forms, psychological and living customs of the Uyghurs in the Middle Ages. In this regard, it can be said that it is an encyclopedia dictionary." This work is the pinnacle of Saifuding's literary creation. It was translated into Turkish in 2002 and the Chinese translation was launched by the National Publishing House in 2015.
In 1985, Sai Fuding created a large-scale historical drama "Bloody Lesson" with 7 acts and 17 scenes based on his personal experience in the history of Xinjiang's revolution. The play is set against the dark rule of Sheng Shicai, who occupied the highest local power in Xinjiang and created a series of bloody tragedies from 1933 to 1944. It truly and vividly reflects the revolutionary activities of patriots such as Mao Zemin, Chen Tanqiu, Linjilu, , Xia Refu Khan, Kurban Niyazi. In the script creation, Sai Fuding respects historical facts and is not limited to historical figures and historical events, making the emergence and development of drama conflicts unfold in a wavy shape, and is better than any of his previous drama works in terms of the attractiveness of the plot. This large-scale historical drama, together with his two works, "Sutuk Bugrahan" and "Amanishahan", became three works at the peak of his creative career.
In 1988, Sai Fuding published the long biographical literature "The Eagle of the Tianshan Mountain", which reflects the revolutionary life of Abdukrim Abasov, one of the important revolutionary leaders of the three districts of Xinjiang and died young. After 1990, he successively published his three-volume long memoir "The Epic of Life".In these works, he faithfully records the historical events, storms and figures that occurred on the land of Xinjiang in the turbulent and magnificent 20th century, as well as tremendous historical changes and social progress. It tells the heroic journey of himself and his like-minded people of his contemporary era, exploring the truth, pursuing revolution, and achieving common ideal goals.
Sai Fuding has created more than 1,000 poems in his life. His poetry inherited the excellent cultural traditions of the Uyghur people and included a large number of excellent Uyghur classical metrical poems, such as double-line poems ( Gezele ), four-line poems ( Roubayi ), and narrative poems. During his stay in the Soviet Union, he was influenced by the Soviet revolutionary poet. After serving as the leader of the Party and the country, he was influenced by Mao Zedong's poems. He also created many free verses, , traditional metrical verses imitating the Han nationality, etc., which made his poems not only have strong national characteristics, but also have a distinct atmosphere of the times and heroic spirit. His poems are elegant in style, sincere in meaning, and rich in cultural heritage. They are included in the collections of poems such as "Song of the Storm" (1975) and "Selected Poems of Sai Fuding" (2003). The Chinese translation of "Seifuding Poems" was published by People's Literature Publishing House in 1999.
Sai Fuding can be regarded as a work. His creations cover almost all modern styles, including poetry, novels, prose, close-ups, prose poetry, drama, movies, biographies, fables, fairy tales, etc. He is also a literary translator. He is a unique culprit among modern and contemporary Uyghur writers and occupies a special position in the history of Uyghur literature. His fables and fairy tales are included in Uyghur primary and secondary school textbooks. His poems are composed into songs and sung in Uyghur folk. His drama works are brought to the stage. His film and television works are presented on the silver screen, making a significant contribution to the development of contemporary Uyghur literature.
Make literary friends
Sai Fuding loves literary creation. As the leader of the Party and the state and the highest leader of the Xinjiang Autonomous Region, he attaches great importance to literary and artistic work and cares for literary and artistic talents. Wang Meng, a famous writer and former Minister of Culture who was delegated to Xinjiang for 16 years, recalled Sai Fuding and said emotionally: "In addition to being one of the leaders of Xinjiang and the country, I always agree that Comrade Sai Fuding, who has served as the chairman of the Autonomous Region Federation of Literary and Art Circles, president of Xinjiang University and vice chairman of the All-China Federation of Literary and Art Circles, is a confidant of cultural people, our colleagues, and is connected with our hearts."
Sai Fuding attaches great importance to the part-time chairman of the Autonomous Region Federation of Literary and Art Circles, vice chairman of the All-China Federation of Literary and Art Circles, and a member of the Chinese Writers Association, and believes that this is an important condition for making friends with literati. By making friends with literati, he grasped the current status of literary and artistic work in a timely manner, exchanged and discussed creative experiences with each other, understood their working and living conditions, and helped them solve their problems in a timely manner.
During the Cultural Revolution, the Xinjiang Federation of Literary and Art Circles was dissolved, and a large number of literary and artistic workers were either delegated or locked up in a cowshed. In order to protect the backbone of literary and artistic work in Xinjiang, under the inquiry of Sai Fuding, the Cultural Bureau established a creative research room and absorbed some writers and artists in the former Federation of Literary and Art Circles and organization. Wang Meng, who were exiled to Xinjiang at that time, and famous writers and artists such as Tieyifujiang, Krim Hoga , and Ablayuv, could still rely on the Creative Research Institute to engage in creation in those difficult years. Wang Meng's 700,000-word novel "Handle Scenery " was written during this period. The work won the "Five One Project Award" of the Central Propaganda Department in 2014, and won the 9th Mao Dun Literature Award of in 2015. When talking about the only work he created in Xinjiang in 16 years, Wang Meng said with emotion: "I received the care and help from the leaders of the autonomous region represented by Sai Fuding, so I was lucky to continue my business. He himself is an intellectual who always respects knowledge and pursues knowledge and art. He shows the special expectations of the Uyghur people for intellectuals."
In the early 1970s, a group of business backbones of the Xinjiang Military Region Art Troupe were demobilized to the local area due to "bad origin", resulting in the loss of talents from the Military Region Art Troupe, which not only affected the development of the military's literary and artistic undertakings, but also affected the cultural undertakings of the autonomous region.After learning about this situation, Sai Fuding immediately convened a meeting of the Standing Committee of the Military Region Party Committee to study and decide to invite back the literary and artistic backbones who were wrongly handled from all over the country, so that they could join the army for the second time and return to the Xinjiang Military Region Art Troupe. The choreographer Sun Ling is a friend of the literary and artistic circles that Sai Fuding knows. She has been treated very unfairly because of her overseas relations, so she is unwilling to return to the team. Sai Fuding and Ayimu, the wife of the Autonomous Region’s Culture Director, specially invited Sun Ling to her home for dumplings. While eating, Sai Fuding did Sun Ling's ideological work and mobilized her to return to the Military Region Art Troupe, but she still didn't want to. Sai Fuding smiled and enlightened her, "Mom also had a mistake when she called the wrong child. Mom had already admitted her mistake to you. Can't you forgive your mother?" After hearing this, Sun Ling was so moved that she shed tears. In July 1973, Sun Ling returned to the Xinjiang Military Region Art Troupe, restored military resident , and repaid two years of difference salary. Later, she became the national first-class director and vice chairman of the Xinjiang Dancers Association, and made outstanding contributions to Xinjiang's literary and artistic cause.
One day in the summer of 1971, several literati friends of Sai Fuding reported to him that some people were indefinitely exaggerated, tied folk songs with politics, labeled "reactionary" and banned broadcasts and singing. Due to the lack of songs and music that the masses like, many people have been labeled as "current counter-revolutionary" because of secretly listening to foreign songs. After learning about this situation, Sai Fuding attached great importance to it and clearly pointed out that folk songs belong to the category of art and are an art form that the masses like. It is recommended that some Uyghur folk songs and music be lifted to meet the spiritual and cultural needs of the masses. The first batch of the Autonomous Region Culture Department lifted the ban on 30 folk songs and music, which were played publicly on the radio. After the masses heard these familiar songs on the radio, they felt particularly friendly.
In July 1985, the magazine "Ethnic Literature" held a national literature writing conference in Yantai. Sai Fuding visited ethnic minority writers at the Pen Club and had a pleasant discussion with everyone. He affirmed that "National Literature" was well-run and achieved great success. He hoped to cultivate authors through this publication and launch more and better works. He suggested that in addition to the Chinese version of "Ethnic Literature", several versions of ethnic minority characters should be published, so that they can truly play the role of literary exchanges among all ethnic groups. He encouraged the training center for ethnic minority literature run by Beijing to continue for a long time, providing minority writers with opportunities to further their studies. He advocated that ethnic minority writers should go around the country to broaden their horizons. If ethnic minority writers cannot open their horizons, the gap with Han writers will grow wider and wider. If funding is difficult, he can help to appeal. After Sai Fuding came to work at the Standing Committee of the National People's Congress, Xinjiang poets, writers and artists who came to Beijing all like to sit in his house, and they are constantly in full swing. He welcomed him warmly whether he was an old friend or a new friend he had just met, including ordinary workers, farmers, and ordinary cadres. One time, Sai Fuding and his family were on vacation in Beidaihe. A young Uyghur man from Xinjiang who sold barbecue asked for a meeting, and the staff of the Beidaihe Security Department reported to him. Sai Fuding asked the secretary to learn about the situation. The secretary asked the young man: "How do you know Sai Fuding?" The young man took out the historical novel "Sutuk Bugrahan" and said: "I met through this book." Unexpectedly, a novel had such an influence among Uyghur youths, which made Sai Fuding very pleased. He immediately invited the young man to his residence and had a cordial conversation with him.
On November 24, 2003, Sai Fuding died of illness and his soul returned to Xinjiang.
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