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Qibao Shadow Play Pavilion
November 27, 2010, Saturday
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Print Edition
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WHILE the new Shanghai City Theater develops pretty well in the district, another of Minhang's cultural venues, the Qibao Shadow Play Pavilion, doesn't seem to be as satisfied with their current situation.
Although the Qibao Shadow Play was selected as one of the first intangible cultural heritages of Shanghai in 2007, and the pavilion still gets a certain number of visitors every day, the problem is that folk culture is still in danger of being lost.
Zhu Mojun, the 63-year-old curator of the Qibao Shadow Play Pavilion is also an eighth-generation heir of the Qibao Shadow Play. He has spent years looking for the ninth generation, but to no avail.
Zhu and his pavilion are greatly supported by the Minhang government, in both finance and policies. However, there still seems a huge cultural gap between the shadow play and common citizens.
Zhou Xuqiu lives in Qibao Town and studies in Qibao No.2 Middle School. In his mind, none of his classmates are interested in shadow play.
"We watched it once, but couldn't understand anything from it," says Zhou. "The stories are pretty strange to us. Besides that, it's performed in Qibao dialect. Even my parents cannot totally understand it."
Of course Zhu knows the obstacle for further development, and that's what he's focussing efforts on. "I'm trying to change the traditional performing language from Qibao dialect to Mandarin," says Zhu. "The proper change will help it develop."
However, the biggest problem of finding young heirs has still not been solved. At present, the members of the shadow play pavilion are mostly people whose average age is almost 70. Without young power actually getting involved, the idea of a shadow play renaissance will only be a wish.What to Change?
Ding Wei is a white-collar worker from the Xinzhuang area. His opinion seems pretty typical among most young people. "I will spend money to watch a performance in the Shanghai City Theater rather than watching a shadow play for free."
But why?
It's of course nothing to do with the money. According to information from the Shanghai City Theater, Minhang citizens have a very strong desire and the power to consume culture. The current cultural venues in Minhang aren't really beyond the financial means of local people.
It's also nothing to do with publicity. While the Shanghai City Theater establishes itself in the community with communication and advertising, the Qibao Shadow Play Pavillion is similarly present in the media and notice boards of communities. They're both well-known to local citizens.
So it can only be the artistic content that makes the difference. As a traditional folk art originated in the Qing Dynasty (1644-1911), Qibao Shadow Play does not do too well in "keeping up with the times."
Only with protection and support from the government can it perhaps be sustained, although it cannot be developed. The revolution must be called. On the grounds of keeping the essence of the traditional art, it will be fine if some changes are made in how and where it is performed to make it more widely acceptable. A mass foundation is the key for developing.
The Shanghai City Theater succeeds because it offers performances which best suit the taste of the audience.
If the shadow play wants to survive and develop over a long period, maybe it should also try adapting to meet current cultural tastes and needs.
And when a change is decided, it would be better to make it immediate before it's too late.
Although the Qibao Shadow Play was selected as one of the first intangible cultural heritages of Shanghai in 2007, and the pavilion still gets a certain number of visitors every day, the problem is that folk culture is still in danger of being lost.
Zhu Mojun, the 63-year-old curator of the Qibao Shadow Play Pavilion is also an eighth-generation heir of the Qibao Shadow Play. He has spent years looking for the ninth generation, but to no avail.
Zhu and his pavilion are greatly supported by the Minhang government, in both finance and policies. However, there still seems a huge cultural gap between the shadow play and common citizens.
Zhou Xuqiu lives in Qibao Town and studies in Qibao No.2 Middle School. In his mind, none of his classmates are interested in shadow play.
"We watched it once, but couldn't understand anything from it," says Zhou. "The stories are pretty strange to us. Besides that, it's performed in Qibao dialect. Even my parents cannot totally understand it."
Of course Zhu knows the obstacle for further development, and that's what he's focussing efforts on. "I'm trying to change the traditional performing language from Qibao dialect to Mandarin," says Zhu. "The proper change will help it develop."
However, the biggest problem of finding young heirs has still not been solved. At present, the members of the shadow play pavilion are mostly people whose average age is almost 70. Without young power actually getting involved, the idea of a shadow play renaissance will only be a wish.What to Change?
Ding Wei is a white-collar worker from the Xinzhuang area. His opinion seems pretty typical among most young people. "I will spend money to watch a performance in the Shanghai City Theater rather than watching a shadow play for free."
But why?
It's of course nothing to do with the money. According to information from the Shanghai City Theater, Minhang citizens have a very strong desire and the power to consume culture. The current cultural venues in Minhang aren't really beyond the financial means of local people.
It's also nothing to do with publicity. While the Shanghai City Theater establishes itself in the community with communication and advertising, the Qibao Shadow Play Pavillion is similarly present in the media and notice boards of communities. They're both well-known to local citizens.
So it can only be the artistic content that makes the difference. As a traditional folk art originated in the Qing Dynasty (1644-1911), Qibao Shadow Play does not do too well in "keeping up with the times."
Only with protection and support from the government can it perhaps be sustained, although it cannot be developed. The revolution must be called. On the grounds of keeping the essence of the traditional art, it will be fine if some changes are made in how and where it is performed to make it more widely acceptable. A mass foundation is the key for developing.
The Shanghai City Theater succeeds because it offers performances which best suit the taste of the audience.
If the shadow play wants to survive and develop over a long period, maybe it should also try adapting to meet current cultural tastes and needs.
And when a change is decided, it would be better to make it immediate before it's too late.
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