【With China's all-round rise, the spread of Chinese culture at home and abroad will be a magnificent cause. To solve the problem of internal and external transmission, what we can do is to "turn the West into China".
The current foreign propaganda in China may be more focused on a macro narrative, which may form a stereotype.
On December 2, in the 40th episode of Oriental TV's " This Is China ", Zhang Weiwei, the guest speaker of the program and dean of the China Research Institute of Fudan University, talked about cultural communication. Observer.com organizes the content of the program for readers. 】
Zhang Weiwei :
China's rise is the most eye-catching event in the 21st century. Although the mainstream Western media tried their best to slander China, "the green mountains cannot be covered, after all, they flow eastward." Today, we go anywhere in the world, Chinese goods, Chinese tourists, Chinese investments, Chinese companies, China's presence is everywhere, and China's rise has shocked the world. Judging from the experience of world historical development, the rise of great powers is almost accompanied by the rise of their own cultural influence, and the world's cultural centers often continue to shift with the rise of countries. For example, in the 18th and 19th centuries, the rise of European countries brought about the spread of European culture around the world. With the rise of the United States in the 20th century, the influence of American culture also spread around the world. Today, China is rapidly moving towards the center of the world policy and economic stage, which will inevitably lead to the rise of Chinese culture around the world.
In recent years, Confucius Institute has been established all over the world, the Chinese Cultural Festival has been held all over the world, and Chinese film and television, music, dance, art, animation works, etc. have all gone abroad. Our program has also gone overseas through the Internet and has been welcomed by overseas Chinese and many foreigners. But overall, the influence of our cultural communication is far from keeping up with China's rise. We still have a lot of work to do and can achieve great things. Although Chinese culture is in a good momentum and the number of platforms for cultural communication is increasing, the biggest problem is that the depth of communication is insufficient. To put it figuratively, it is not enough to "enter the mind and heart".
Personally, I believe that to spread Chinese culture well, it is probably necessary to work hard in two aspects: one is to strive to touch others at the life level and emotional level, and even embed the audience's daily life and emotional life. Chinese civilization has never been interrupted. The most exciting aspect of Chinese culture is often its "revitalization". It lives in the daily lives of ordinary Chinese people and in the emotional life of Chinese people; the second is to extract things that have universal significance to mankind from various cultural elements and find out those values that can resonate with mankind widely. Only in this way, such things that are universally meaningful or common values can they be more touching. Then this process of refining itself can also help us enhance cultural confidence and enrich our cultural life and spiritual world of even the entire human race.
In order to better spread Chinese culture, I will discuss some ideas with you here first, and then use some cases to illustrate it.
The first idea is to "open up internal and external communication". Now the number of people leaving China is the largest in the world, with at least 150 million out of the country every year, and the number of students overseas is also the largest in the world. In the Internet era, anyone can be a self-media, and in terms of international mass exchanges, everyone can be an envoy to Chinese culture. As long as we have cultural confidence from the heart, this confidence itself can infect others. In a sense, our program also allows Chinese people to increase rational and inner confidence, thereby promoting Chinese culture, including Chinese political culture and Chinese political discourse, to the world.
The second idea is to grasp the "art" from the "Tao". We all know that Chinese culture is profound and has never lacked various specific cultural elements, such as kung fu, cheongsam, green tea, jasmine, etc., but in promotion and dissemination, it often gives people the feeling that the image is relatively single, and these things are always over and over again. The reason is probably that we only treat these elements as elements, and fail to fully convey the overall, deep, spiritual, and universal meaning behind this element.In fact, Chinese culture pays the most attention to "literature carries the way". We must explore the "Tao" behind these elements and promote cultural dissemination at the level of "Tao".
The third idea is to go from "new" to "old". The cultural communication I am discussing here does not refer to professional or professional exchanges. I do not refer to the exchange of archaeological majors, nor does it refer to the international seminar on the study of the Book of Changes. It does not mean this, but rather it revolves around cultural communications targeting the ordinary public. What I am talking about here is mainly two meanings: one refers to the perspective of China's contemporary achievements; the other refers to the use of new technologies and new means. We must explore the cultural origins behind China's great achievements in modernization today, and we must also use new technologies and new means to promote cultural dissemination.
Next, I would like to use some cases to illustrate these ideas, including some summary of existing successful experiences, and some suggestions and thoughts on improving cultural communication.
The first case is from "new" to "old". China's modern industrial miracle represented by high-speed rail, mobile Internet miracle represented by WeChat, high-tech miracle represented by Beidou positioning system, "Internet +" miracle represented by e-commerce, etc., have actually brought shock to the whole world. We should strive to reveal the relationship between these representative achievements of China's modernization and Chinese traditional culture. This is not only conducive to our cultural confidence, but also conducive to expanding the international influence of Chinese culture. A core concept of Western discourse is the so-called "modernity". I have said many times that China's rise is reshaping the so-called "modernity". China's great achievements in modernization, especially more efficient, more convenient, more humane, more personalized, etc., are reshaping the concept of "modernity" in a sense, and behind all this, almost all the traditional genes of Chinese civilization keeping up with many times. For example, through our own research, we can reveal the deep relationship between the miracle of China's high-speed rail "eight vertical and eight horizontal" and the great project in China's history. Historically, Grand Canal , the Great Wall, the Ancient Tea-Horse Road, the Land Silk Road, the Maritime Silk Road, etc., all belong to China's cross-regional project as a super-large country. It is also called "linear culture" in the academic community. It carries the humanistic spirit of China, the spirit of the Chinese people's love for peace, the spirit of the Chinese people's struggle to create the world, and such cultural heritage.
Chongqing compiled the map of "Take a High-speed Railway and Eat Chengdu and Chongqing". The picture comes from Chongqing Business Daily
We can also enter the cultural significance of developing the high-speed railway from a cultural perspective. I saw that some experts from the people have already exaggeratedly painted China's high-speed rail maps into subway maps of cities, and accompanied by "All Guide to Beautiful Views and Food". Their text reads like this: "Burn incense and worship Buddha at Lingyin Temple in Hangzhou, go to Meijiawu to daze, drink a cup of new tea, and then look for a night to put on Erchuan on the tip of your tongue. Watch birds in Nanchang Poyang Lake, climb Tengwang Pavilion to see the river view, and have a bowl of delicious earthen pot soup on the street..." This is undoubtedly a good entry point to introduce the rich and colorful Chinese culture.
WeChat is also a field in China's leading world. When I talk about cultural confidence, I have already said that it can be interpreted from a cultural perspective. For example, the relationship between the popularization of WeChat and Chinese characters. Chinese characters were once regarded as hindering China's modernization, but Chinese characters are indeed keeping pace with the times. In the era of mobile Internet, it shows its unique advantages, especially its high degree of conciseness and compactness, and can express diverse meanings on mobile phone screens with limited area and carry more information. We can also explain the characteristics and charm of Chinese culture from the rapid popularization of WeChat, the popularity of Douyin and Kuaishou, the convenience of word-by-sounding, etc.
The second case is still from "new" to "old", that is, using new technical means to "revitalize" traditional culture. For example, ancient Chinese paintings produced a large number of fine works, but Chinese people and the outside world know very little about this. Many Chinese people even only know art works since the Western Renaissance, and their knowledge of China's own art works is very limited.Therefore, we might as well use high-tech and Internet technology to better push many outstanding works such as Chinese painting to the domestic and foreign countries, and through these paintings, we can reveal the living standards, aesthetic interests and spiritual world of our ancient Chinese. For example, during the Shanghai World Expo, we used high-tech means to "activate" the ancient painting " Along the River During the Qingming Festival ", which is a very successful case. I went to the World Expo three times, and I stood in front of this picture, following the ancients walking through the streets and alleys on the picture, visiting shops and inns from thousands of years ago, street scenes under the setting sun, night markets with flashing oil lamps, etc., giving people unlimited space for imagination.
Where was such a prosperous and prosperous city in Europe at that time, and where did you have such a fun life? At that time, Kaifeng was the only city with a population of one million in the world. In comparison, there were only 50,000 people in London at that time. Let’s look at China’s prosperity today, from Xintiandi in Shanghai, Huaihai Road to Chunxi Road in Chengdu to Kashgar’s old city. It can be said that the “Along the River During the Qingming Festival” in the 21st century is spread all over every city in the motherland.
Another example is Yang Chun from Central Academy of Fine Arts , he resurrected many ancient Song Dynasty paintings hidden deep in the Forbidden City. He selected many classic calligraphy and paintings of the Song Dynasty, including "Hidden Lotus and Phenics" and "Birds with Ripe Fruits", and copied them to organize them into works. Later, he was filmed into an animated short film "Beautiful Forest", which became the product of the perfect combination of Chinese traditional art and modern animation, showing the spiritual realm of unity between man and nature. You see a little bird suddenly flying out of an ancient painting, and the surprise and happiness it brings to people is indescribable to words. Modern animation technology, VR technology, Douyin, Kuaishou, etc. all provide new opportunities for Chinese painting with profound backgrounds and Chinese culture to move towards society and the world.
animated short film "Beautiful Forest"
The third case is to reveal the "Tao" behind it from "art". I especially like old Chinese buildings, including ancient villages and ancient buildings. People often say that architecture is solidified music, and music is flowing architecture. What is even more commendable is that the excellent tradition of ancient Chinese architecture is not only mastered by intellectual elites, but also the daily practice of countless ordinary craftsmen over the past thousands of years. Behind it is the great inheritance of the "integration of technology and Tao" in Chinese traditional culture. The mortise and tenon technology of Chinese woodworking reflects the traditional concept of harmony between yin and yang. " Zhuangzi " has many philosophical fables, all of which are based on craftsmen, such as Bai Ding Jie Niu, Zi Qing peeling wood into turtles, Lu Liang's husband dances to water, etc. Therefore, "Zhuangzi" describes a group of craftsmen and craftsmen who have reached the level of perfection in their skills, but they present a state of infinite freedom in spirit, and the spiritual realm of heaven, earth, and all things and me being born together. In other words, the traditional Chinese philosophical thoughts are closely linked to productive labor and people's lives. Craftsmen can demonstrate a skill by making furniture, building houses, building water conservancy projects, etc., and show the aesthetic realm and spiritual world of "Tao". Today, when we promote the spirit of craftsmanship, I think it is of great positive significance to explore the spiritual world behind the skills.
The fourth case is how to better present China's public cultural space. The Chinese people love life, and the biggest feature of Chinese culture is that they live in the daily lives of the people. Any foreigner who visits China will often be moved by the vibrant life of the Chinese people. From morning practice of Tai Chi to the lively vegetable market, to tea tasting in teahouses, to the prosperity of the night market, it will touch many foreigners. Here I would like to mention China's public cultural space. In Chinese communities and parks, there are various spontaneous and semi-spontaneous cultural activities every day, such as aunt square dance, chorus activities, performance art, piano, chess, calligraphy and painting, etc., all reflect the love of the Chinese people for life, and often reflect the "Tao" behind this love: the spiritual outlook of the Chinese people, the liberation of China's women, the retirement system of China, the elderly care system, the community service of China, etc.
I think we can even use Chinese square dance and community chorus as cultural symbols of modern China, spreading it through our videos, documentaries, and the Internet, so that overseas people can see the cultural life and community life of ordinary Chinese people; I think that the colorful lives and optimistic and upward spiritual outlook of ordinary Chinese people will touch many people in the world.
By the way, the word "aunt" has entered the English financial vocabulary, and many Westerners have also begun to pay attention to the phenomenon of "aunt" in China. They are a particularly chic group in China, which to a considerable extent reflects the success of Chinese women's liberation. In addition to dancing square dance, many of them also hold financial power in their families, which is incredible in most Western countries. They are only in their 50s and have retired, which is incredible in most Western countries, where the retirement age is often 67 years old. They are also often the organizers and new forces of the so-called "world connection". From China to Europe and the United States, they travel freely. Chinese "aunts" do not understand any profound economic theories, but they often start from their common sense to compete with Wall Street in the international gold market. Sometimes you miss the game, sometimes you succeed, you can be said to be a match for the game. Therefore, the word "dama" has also entered the English financial vocabulary.
The fifth case is to solve the problem of internal and external transmission. I think it can be called "turning the West into China". Historically, Buddhism was introduced to China and was sinicized. Table tennis invented by the British became China's national ball. These all show that Chinese culture has a strong ability to inclusively integrate. Since modern times, Western learning has spread to the east, and the influence of Western culture on China has almost ubiquitous. But with the rise of China, I have a bold idea. Can we consider consciously promoting the "turning West into China". For example, since the reform and opening up, China's urbanization has developed rapidly, and various Western architectural styles have almost dominated China's architectural design. If we exclude some purely admiring foreign countries and fawning on foreign countries, Western style is popular in many places in China, probably because it meets some practical needs of Chinese society.
With such a large scale of urbanization in China today, can we put this on the agenda, that is, to turn European-style buildings into buildings with Chinese souls, just like the Shanghai Shikumen building that combines Chinese and Western styles in history, now it has become a business card for Shanghai urban architecture. Shanghai's new world is popular with Chinese and foreign tourists because foreigners see China, Chinese people see foreign countries, young people see history, and elderly people see fashion. So to a certain extent, I guess the name will change, just like table tennis originated from the UK. It is no longer the original "table tennis" or "table tennis", but the word ping pong is used.
We can also consider expanding it in a wider range, for example, it can also promote the sinicization of Western classical music, the sinicization of Western musical instruments, the sinicization of Western clothing, etc. I think we can really consider "turning West into China" and combining Chinese and Western, and we can hold some creative competitions to promote this process. In this sense, on the one hand, we should take and understand other cultures seriously, including Western culture. At the same time, we should also combine China's cultural traditions, Chinese cultural preferences and Chinese needs to creatively absorb and integrate foreign objects into China's own cultural system. This itself can demonstrate the inclusiveness of Chinese culture and innovate.
In fact, as the scale of the Chinese market continues to expand, many Western imported products have taken the initiative to start the process of sinicization in a sense. For example, KFC, , McDonald's , they have also begun to launch some Chinese packages, breakfast, and iPhones to cater to Chinese consumers to launch "rich gold" styles. Hollywood movies such as "The Day Afternoon", "Transformers 4" have put the shooting venues in China or introduce more Chinese elements, inviting Chinese actors to participate, etc. These developments are also of reference value to us.
The sixth case is to construct an indicator evaluation system based on Chinese culture.Every nation has its own cultural preferences. An important sign of cultural confidence is to observe and measure the world with its own standards and make its own judgments. I have said here that we can consider using the Chinese historical research standards and "reliable history" to examine the history of the West, the history of Europe, and the history of ancient Greece. For example, we can consider formulating Chinese standards to promote the international influence of Chinese culture. Now China has become the world's largest tourist exporter. There is Dianping.com in China. Overseas, Chinese tourists can also comment on all aspects of countries around the world. Then, through big data analysis, an index system based on Chinese cultural preferences is proposed, including catering level, hotel level, airport service, aviation service, cultural life, whether it is friendly to Chinese people, business convenience, public security level, digital development level, network level, etc. I think this will help Chinese cultural standards go global and gradually promote a transformation towards Chinese cultural preferences around the world, which is also to use Chinese cultural standards to influence the world.
The seventh case is that we can write some simplified versions of Chinese Chinese culture courses, and the video courses are better. Just like Chinese people learn English, most people will never actually reach the level of truly mastering English, and there is actually no need for this. But through the process of learning English, you can learn more or less about some British and American culture. This is actually the case with learning Chinese. Most foreigners who learn Chinese are ultimately unable to fully master Chinese due to various reasons, and they can only try it lightly. So how can these Chinese-study people also experience the beauty of Chinese characters and the beauty of Chinese culture? I think we can fully utilize our cultural creativity and produce a batch of works with 300 to 600 Chinese characters with a large number of animation and video images, so as to introduce all aspects of Chinese culture to the outside world. This allows people with a little Chinese character foundation to experience or initially experience the charm of Chinese culture to a more or lesser extent.
The last case is to make good use of new means such as the Internet, give full play to the vitality of civil society, and let the vitality of folk culture burst out on a large scale. Moreover, better use of the Internet will also help us subvert the Western media's encirclement and blockade of China's entire public opinion. The narrative model of many domestic social networking websites breaks down Chinese culture. I think these are very beneficial using photos, videos, and even emoticons, and using young people's online language and narrative methods. Today, the targets of Chinese cultural dissemination are largely those born in the 1990s and 2000s worldwide, and they are indigenous people in the Internet era. For them, often visual stories and emotional politics are very important, and this influence will be across classes and across national boundaries. I often give this example. In 2016, on the Western Quora website, a foreigner asked a question, why didn’t Chinese intellectual elites launch a color revolution? A female international student in Shanghai answered very simple. She uploaded a photo of Pudong from 1990 and a photo of 2010 in Pudong, and then wrote: In 20 years, from being poor and naughty to being like this today, this is my hometown! Do we look like we are persecuted, brainwashed, and have no freedom? Do you think you want to change to a better government? Thank you for your suggestions, our Chinese system is operating very well.
In short, with China's all-round rise, the spread of Chinese culture at home and abroad will be a spectacular cause. We have the obligation and ability to promote this cause to greater glory!
OK, today I will share these with you, thank you.
Discussion link
Fan Yongpeng : Cultural communication is very important, not a phenomenon that only occurs today. There are several modes of cultural communication in history, such as Rome . The cultural communication of the Arab Empire largely relies on the expansion of force and the transport of military power, and finally established cultural hegemony. There are many other different models, such as China, which in most cases adopts a process where I do not actively promote it and you take the initiative to accept it.In fact, China has influenced many regions through this kind of culture naturally flowing outward. There is no need to talk about Northeast Asia. Southeast Asia even goes to places like Kenya and East Africa . When you go to the local Mombasa museum, you will see that most of the exhibits inside are very good exhibits, all from China, so China's cultural influence is very great.
But what attitude do we adopt today? First of all, we should not learn from the attitude of cultural communication in the West, because at least since modern times, cultural communication in the West has been accompanied by colonialism, war and aggression. But we can no longer be like our ancestors, just sitting here waiting for you to learn from me and accept me, right? We should still take the initiative to talk with the world to spread. There is a question here, what kind of culture can be spread? Historically, first, high-level culture can be spread, and others sincerely believe that you are a high-level culture. For example, Japan once sent envoys to Tang, and Lu Chen, China. For example, after the Ming Dynasty, Japan and South Korea once thought that they were representing the new center of Confucian culture, and they wanted to serve the king and rebel against the Qing Dynasty and restore the Ming Dynasty. Marco Polo brought the situation of the Yuan Dynasty back to Europe, and Columbus was reading Marco Polo's book on a long voyage. Voltaire read about China's bureaucracy and said a sentence, "The original saying is that I can't think of a better and more intelligent system in the world than this one." He believes that this is the only system discovered by mankind that does not rely on ignorance and superstition to rule. So if your culture is really a high-level culture, others will definitely accept it naturally.
The second point is that the dissemination of culture needs to be rewarding to a large extent, that is, I accept your culture, and it is beneficial for me to learn from your culture. During the ancient Roman period, I accepted Roman culture and gained citizenship, and I gained a political identity and even economic status; businessmen who did business in the Mediterranean accepted Latin and had a contractual language. The same is true in Chinese history. Chinese Chinese is often not forcibly promoted or consciously promoted by the government, but because there is a bureaucratic system and imperial examination system, many people take the initiative to choose, and obtain political resources and leverage of political power by mastering culture. Therefore, in Chinese history, many people came to learn Chinese to gain political power. From the Han Dynasty to the Qing Dynasty, we all have people from different countries to be officials. In addition, for example, businessmen can achieve better economic benefits through doing business. They have the influence of Chinese culture in the entire South China Sea and even the Indian Ocean region. In short, you must be able to give everyone a reward.
Today, with the rejuvenation of the Chinese nation, we proposed the Belt and Road Initiative, which dominated many international orders and international institutions to carry out activities. We must be able to provide people in the world with a public product, such as the Belt and Road Initiative, and the Asian Infrastructure Investment Bank can provide new financial mechanisms. We can establish a good world mechanism so that people in the world can share political rights and the right to govern the world. Then, they will naturally accept your culture with satisfaction and joy, rather than an imposition.
The third is that the culture that can be spread must be universal. This universality is something very difficult to grasp. For example, it is like a car pulling goods. The more goods you pick, the slower and closer you pick, the less goods you pick, the faster and farther you pick, but if you pull nothing, you run the farthest, but the question is, what are you running for? Therefore, cultural communication requires finding a balance between the car and the goods. When we mention China internationally, everyone thinks of dumplings, window grilles, Chinese knots, Shaolin martial arts... These things are equivalent to a cart without any goods. They are a symbol and carry too little Chinese culture. They cater to a curious and curious foreigner mentality, and have not spread it to him with real value. But if you meet a foreigner, you will talk to him about "Dream of Red Mansions", "Red Science", and the legal thoughts in the Qin bamboo slips of Sleeping Hudi, which most ordinary people cannot understand. So I think our future communication workers should find the intermediate equilibrium point.
Q&A session
Q1: Professor Wang Wen of the National People's Congress titled "Although you are talking very well, it sounds like the CCP propaganda." So I feel that this title may reflect the current foreign propaganda of China, which may focus more on a macro narrative, which may form a stereotype. So my question is, what can unofficial forces do in the process of making up for such a flaw?
Host: OK, please sit down. Speaking of this article, I will add that Professor Wang Wen was an American scholar and an audience member after his speech. He stood up calmly and asked a very polite question. I think what you said makes sense, but I just think that no matter how you listen, it is like publicity. So Professor Wang Wen had a reflection. He said, when we spread some of our stories, how to use languages that they sound very acceptable, rather than languages that they are already very accustomed to. Professor Zhang, what do you think of such a case?
Zhang Weiwei: I think it depends on the specific scene. One is that it may be too official, and the other is that it may be Western prejudice, just like the netizens who blocked China by Google and Facebook this time. He said this is the official thing, but he has nothing to do with the official. So we need to make a distinction between this and don’t let them take the lead, do you know? But I don't think that's all. Sometimes we pay too much attention to what they don’t understand. I always talk about this point of view. If you don’t understand, you will suffer. I will leave you in the dark. Do you know?
But I do think we can do better. I don’t emphasize particularly macro or micro narrative, that is, the power of discourse itself and the power of thought. With this power, the "Tao" is available, and this "art" can be used later. Look at the words Chairman Mao said to young people. The young people are sunny at eight or nine o'clock in the morning, and the world belongs to you. Later I looked at the memoirs. They participated in Chairman Mao’s meeting with international students in Moscow this time. The memoir was written like this. As soon as the chairman came to the stage, he asked everyone, can you understand my Hunan dialect? Everyone says you can understand. Chairman Mao said that the world belongs to you and ours, and ultimately it is yours. This is China's macro narrative, right? The effect is very good, and behind it is a real power of thought.
Also, do you noticed it? When dealing with the West, there is one thing that is very different from China. We always talk about eight points, and the West only has three points. If it exceeds three points, he can't remember it. Really, if you say too much, the effect may not be good, so you can talk less.
In fact, you look at the Internet world today. One of the most active Internet users in the world, has a lot of folk wisdom. Comparing the two photos in Pudong can make the problem clear. Long Yingtai gave a lecture at Hong Kong University and asked everyone what your enlightenment song was. As a result, they sang "My Motherland". This clue was caught by the editor of Observer.com and told it into a story, with a very good communication effect.
So, we have a lot of experience, and the key is to give full play to the vitality of the people, including this wave of "Hong Kong independence", including the fan circle girls and the Emperor Bar going to fight. Many articles are very exciting, and they look very vivid and full of vitality. Our program is also an attempt to transform Chinese discourse into a vibrant cause.
Fan Yongpeng: official has official functions, and the people have civil functions, so what does the official do not speak official language? This is also a normal phenomenon, and there is no need to be too influenced by Westerners. My point of view is that discourse should be multi-level and diverse. The official representative is Huang Zhong Dalu, such as publishing white papers and press conferences. But what should folk scholars say, be reasonable, logic, argumentation, and storytelling, and telling all these things and form mutual cooperation at different levels to better tell the story.
Q2: Hello, two teachers and hosts. My problem is that our popular songs had "Rare Words", which young people also liked. What is the pastoral life mentioned in Li Ziqi ? It is also widely circulated on YouTube. How can we spread traditional culture better through this kind of public opinion?
Host: I found that she had hit my blind spot. I didn’t know many of the words she just said, what famous singers are...
Fan Yongpeng: She mentioned Li Ziqi just now, don’t you understand?
Host: is because I am no longer a young man of twenty-four or twenty-five years old...
Fan Yongpeng: But I like Li Ziqi very much. I often have to brush Li Ziqi before going to bed at night.
Host: is young, Teacher Fan.
Li Ziqi (video screenshot)
Fan Yongpeng: What does this phenomenon of Li Ziqi reflect? If a culture wants to be spread, it must be vibrant and vibrant. There is a lyric in the theme song "My Motherland" of "Shangganling". Every time I hear it, I am very moved, "The power of youth is everywhere in this ancient land." A very praiseworthy part of Chinese culture today is a kind of youthful culture. We have been to some places internationally. Compared with the world, young people in China are the most like young people, and young people in China are the most creative. Not only Li Ziqi, but also a young man named "Handai Geng", who all use handmade various products. This shows that the roots of culture require soil, which is deep enough to remain evergreen. I believe that the inner heritage of Chinese culture, the things accumulated over thousands of years, the living practices accumulated over revolution, construction and reform in modern times, including the progress made in all aspects of equality, women's rights, employment, and social security mentioned by Teacher Zhang just now, together form a platform for cultural upgrading. Very bright flowers have grown on this platform, and in the future we should encourage such products to go global more often.
Zhang Weiwei: Do you know? When Malaysians play Douyin, I never expected that they will change their faces when playing Peking Opera. After such a change of face, one is Guan Gong’s image, the other is Cao Cao’s image, and everyone is very high. I think this is to spread Chinese culture, which we can use. Peking Opera Facebook is a classic case. He knew that there are Peking Opera, Sichuan Opera, and various images in "Romance of the Three Kingdoms" and so on. As for the experiential communication I mentioned earlier, they really experienced it and wanted to understand Chinese culture.
Ma Zechen: When you go to history to search, it is often the place where new ideas start.
We often see some successful works made by our neighbors and other countries using Chinese elements. For example, the characters in "The Investiture of the Gods" and the characters in "Romance of the Three Kingdoms" are compared in a war, which is a typical story of Guan Gong fighting against Qin Qiong. You will feel that he abused Chinese elements, but if you think about it, isn’t it an acceptable way for people to show it with a vivid means? So when everyone walks to a park or temple, from the stone lion at the door to the unicorn, to the four heavenly kings, to other arhats, etc., if it is made into a game, and everyone runs to the street to have stories with people around them, isn’t it easier for people to accept? When you are looking for creativity, don’t think there is anything to take out just because you are too familiar with this thing? In fact, if these interesting elements are used, they will have good results.
Luo Jun: I also share a small case. When reporting on the image of Chinese soldiers, the West always portrays him as a very majestic, very authoritative and threatening image through photos, etc. But for us Chinese, when we mention soldiers, we all have a scale in our hearts, and what we feel is a kind of friendship between the military and the civilians.So once when I was doing a report, the UK happened to be flooding. In fact, it was common in China in summer. We sent a set of photos without saying anything. It was just that when the water flooded my neck, I had a bathtub on my head, and a baby was placed in the bathtub. Another soldier held an umbrella for him. Two people risked the risk of saving the people. Some soldiers carried all the electric fan and the old man was carrying the people on their backs. This very real snapshot impressed Westerners on overseas social media at that time. The UK did not have the tradition of sending soldiers to rescue disasters, which resulted in hundreds of thousands of people being trapped and powered down. Therefore, many messages at that time were rarely seen that foreigners were moved by Chinese soldiers.
