港澳地区特邀代表：在一个有为的年代，坚定中华文化的自信力

文本刊记者 张亚萌 王雨檬 Zhang Yameng Wang Yumeng 译曹宇光 Cao Yuguang

港澳地区特邀代表：在一个有为的年代，坚定中华文化的自信力

文本刊记者 张亚萌 王雨檬 Zhang Yameng Wang Yumeng 译曹宇光 Cao Yuguang

Delegates from Hong Kong and Macao: Keeping Self-con fi dence of Chinese Culture in this Promising Age

出席第十次全国文代会的港澳特邀代表 Some Delegates from Hong Kong and Macao Attended the 10thNational Congress of CFLAC

“回想近20年，香港传媒的生态有了很大变化——以前媒体讲电影节目，讲电视节目，都有文化的味道。但现在直接变成八卦版，记者成为狗仔队，只抓明星走光露底，这是香港社会有些人有计划、有目的地让年轻人的品位变得低下，下降到关注偷窥私生活上，这样对年轻人好控制、好洗脑。当俗烂节目控制青年一代的思想，导致现在议员在公众场合爆粗口而不以为耻。”香港春天舞台剧制作有限公司监制、导演高志森代表发现，内地一二三线城市中，受到高等教育和文艺熏陶的公众越来越多，对文艺问题的评论越来越专业，一个艺术作品出来，网上能够看到很多专业的观后感；而反观香港，年轻人的跟帖，从思考深度和语言角度来说完全没有价值，通篇都是看脸之后的感受——“好靓哦……”

高志森深感加紧文化教育工作的重要性；而这也是很多来自香港、澳门特别行政区代表的共同感受。“文化自信，是更基础、更广泛、更深厚的自信，是更基本、更深沉、更持久的力量。”习近平总书记的重要讲话不仅重提文化自信，其中“更基础”“更广泛”“更深厚”的特性，在目前风云激荡的社会中的作用越来越重要，也更为港澳地区代表所看重。

“原来大家对澳门的印象就是个小小的赌城，我们澳门文艺工作者多次和人家解释，澳门是以赌为主，但绝大多数是游客，澳门人是不赌钱的。”中国书协理事、澳门书法家协会会长连家生代表介绍，其实澳门文化底蕴丰厚，中西合璧的文化保留得比较完备，澳门回归之后，党中央高度重视，给予澳门高度自治，澳门文化的知名度有了很大提高。他表示，“文化自信”这个主题非常适合澳门——澳门虽小，不能小而自卑，“我们和大的地区一样可以做出大的事情；在中华文化的传承方面，在中西文化融合方面，‘自信’这两个字很适合当代澳门，我们的文化艺术在国际上也逐渐知名。”说起澳门文化，连家生不无骄傲。

“澳门确实是一个小地方，但我也深深感觉到澳门能出文化人才，因为澳门可以成为大中华文化圈中中西文化交流的先锋。我们需要建立起澳门的文化自信，培养出自信的艺术人才，能够融入中华文化圈。”中国舞协顾问、澳门演艺学院艺术指导应萼定代表说。中国音协理事、香港中乐团艺术总监阎惠昌代表特别关注到香港的民族音乐创作与演出如何从传统中树立自信：“香港中乐团一直通过各种方法，从传统文化中吸取精华并大力推广中华传统文化，例如我们举办香港鼓乐节，参与的人从几岁到80多岁都有，场面非常震撼。”他认为，中华文化圈的艺术家都要从自己做起，吸取传统精华，让文化一脉相承。“我是指挥，国内和国外的乐团都指挥过，我觉得中国的传统音乐文化完全可以同国外媲美，甚至还比他们好。”中国音协理事、香港作词家及作曲家协会主席陈永华代表认为，香港作为对外文化交流的窗口，在愈加密切的对外交流文化活动中，应该摒弃国外文化比中国文化优秀的误解，“中华文化是很博大精深的，现在很多国外同行也对中国感兴趣，希望能更多地了解中国文化”。

“文化事业的兴衰和国家安全联系在一起，对民族凝聚力、对民族历史文化的认可意义重大，创造大时代的作品，唤起我们中国人对于本土文化的自豪至关重要。”澳门基金会行政委员会副主席钟怡代表说，《七子之歌》《黄河大合唱》等与澳门地域文化息息相关的作品，让身处扶植艺术家成长机构的她更感到基金会机构应当配合本地艺术家的创作，更好地让艺术家们安心创作。“澳门回归以来，特区政府通过澳门基金会、通过文化社团给予文艺创作很大支持，我们今天树立文化自信、文化自觉，是为澳门明天更美好在做基础工作。”澳门青年交响乐团协会理事长许健华代表说。

文化自信，更要从每一个艺术家的创作中生长出来。“每个艺术家身上都肩负着应有的责任，因为我们所做的事情会直接影响到下一代怎样去思考。中国有几千年的文化资源，这对于年轻人而言是很沉重的，所以艺术家要了解现在年轻人的想法，而不是简单地重复教授古老的东西，重点是要让年轻人感受到文化是活泼的东西。”澳门文创智库协会会长林子恩代表表示，艺术家要在创作中寻找中西文化的不同，并且寻找认同感，同时要树立正确的价值观和道德观，才能坚定文化自信。“有一些魔术师说，魔术是很夸张的艺术，不需要贴近生活，我不这样看。”中国杂协理事、澳门魔术艺术家协会会长翁达智代表说，他在探索在魔术表演中加入人文关怀的主题，并留意其他艺术门类带给魔术的新视野，“艺术创作离不开生活的点滴，比如我们可以把书法、美术的一些元素都加入魔术之中——魔术创作需要在生活中留意细节，魔术也要跟其他艺术‘跨界’。”

“坚定文化自信是个系统工程，我们不仅要从青少年抓起，而且还要将海峡两岸暨港澳地区连成一片，共同努力，相互借鉴，互通有无，提高民族的整体文艺修养，才能坚定文化自信。”中国剧协会员、戏剧导演毛俊辉代表表示。“在这样一个有为的年代，我们赶上了国家文化崛起的年代，有很多事情必须要做，要在各自的岗位做出自己的努力——为中华文化于世界艺术舞台树立一定的地位，我们没有霸权的要求，只有共同繁荣的怀抱。”澳门颐园书画会副会长陈志威代表说。

出席第十次全国文代会的香港特邀代表 Delegates from Hong Kong at the 10thNational Congress of CFLAC

“In retrospect of the recent two decades, the ecology of Hong Kong media has undergone quite a change. In the past, the film or TV program still retained a flavor of culture while currently they all degraded into tabloids and reporters into paparazzi, all of whom care nothing but superstar’s scandals such as wardrobe malfunction. It is believed that someone behind is intentionally to lower youngsters’cultural taste at mere peeping into others’ privacy and to keep them under control for future brainwash. The corruptioned by bad programs in younger generation’s mind has led to some legislative member’s uttering dirty words in public without any sense of shame.” As Gao Zhisen, director and producer of Hong Kong Spring Stage Theatre Production Co., Ltd, finds, in all the cities at varied levels of economic development in the Mainland, the public is increasingly influenced by advanced education and literary and art refinement, and can offer more professional comments on literary and art issues. Upon the occurrence of a new artwork, many professional critic articles will surge on the Internet while in Hong Kong, those youngsters’ comments are nothing valuable in the depth of thinking or literature but sensational reflection on face scores such as “handsome” or “good-looking”.

Gao Zhisen has realized the importance of cultural education, which is commonly shared by many delegates from Hong Kong and Macao. “Cultural self-confidence is a kind of confidence their serves as the very basis in a more extensive and profound sense. It is a kind of reserved yet everlasting power.”Such sentences in President Xi Jinping’s keynote speech not only mentioned the concept of “cultural self-confidence”, but also emphasized the increasingly importante and distinct features of cultural selfconfidence in the current society of constant changes, which impressed the delegates from Hong Kong and Macao significantly.

“Macao used to impress people as a small city of casino, but literary and art workers in Macao have tried to explain that the local people hardly gamble while Macao provides gambling for tourists as its main industry.” Lian Jiasheng, council director of China Calligraphers Association and president of Macao Calligraphers Association said. According to his introduction, as a matter of fact, Macao is a perfect place with solid and abundant cultural foundation as well as well-preserved deposit in combination of Chinese and Western cultures. Since Macao's returning, the Central Committee of CPC has attached importance to the high sovereignty in Macao SAR and the cultural reputation of Macao has been considerably enhanced. As he put, the theme of “cultural self-confidence” is suitable for Macao because Macao shall never be self-abased with its tiny areas. “We can make a big success both in the inheritance of Chinese culture and the cultural integration between China and the West, as much as other big brothers. ‘Self-confidence’ is a key word to Macao, as our culture and arts have gained international reputation as well.” When talking about local culture in Macao, Lian Jiasheng never hid his sense of pride.

“Macao is indeed a tiny place, but I can deeply feel that it is a place of full cultural talents as well because Macao can be the pioneer of cultural exchange between China and the West in the circle of Chinese culture. We need to establish the cultural self-confidence in Macao for fostering confident talents in arts and integrating Macao into the circle of Chinese culture.” Ying Eding, advisor of China Dancers Association and artistic director of Macao Conservatory said. Yan Huichang, council director of China Musicians Association and artistic director of Hong Kong Chinese Orchestra (HKCO), paid special attention to the way of establishing self-confidence in HK’s creation and performance of Chinese national music.“HKCO has been endeavoring to absorb essence from traditional culture and promote traditional Chinese culture by all means. For example, we sponsored a Hong Kong Drumbeat Music Festival where attendees involved children and senior citizens at the age of over 80, which was really a shocking experience.” As he held, all the artists in the circle of Chinese culture should start from themselves to absorb the traditional essence and extend the everlasting line of Chinese culture. “As a conductor, I have cooperated with many orchestras both at home and abroad. I think that the traditional music and culture in China are no less appresiated than foreign counterparts and sometimes even better.” As Chen Yonghua, council director of ChinaMusicians Association, lyric writer and president of HK Composers Association, held, as a window for cultural exchange with foreign countries, Hong Kong must abandon the misunderstanding of superiority of foreign culture to Chinese culture in the increasingly extensive and in-depth cultural exchange events. “Chinese culture is of broad scope and profound significance. Currently, many foreign peers of mine show a great interest in China and expect to learn more about Chinese culture.”

“The rise and fall of cultural cause is closely connected with national security, and we shall recognize the importance of national cohesiveness of history and culture. It is crucially important to create works in reflection of this prime time and awaken out compatriots’ pride in national culture.” said Zhong Yi, vice chair of Administrative Committee of Macao Foundation. With such works in close connection with local culture in Macao as Song of Seven Sons and Yellow River Cantata, she, as a worker in an artist-supporting agency, took it a duty to provide assistance to the local artists’ creation. “Since the returning in 1999, the SAR government, via Macao Foundation and other cultural societies, has provided great support for literary and artistic creation. The current emphasis on cultural self-confidence and self-consciousness serves the very basis for a better future of Macao.” Xu Jianhua, chair of Macao Youth Symphony Orchestra Association said.

Cultural self-confidence shall prosper from every single artist’s creation. “Every artist shoulders his or her own responsibility because what we have done will directly influence the next generation’s way of thinking. China’s cultural resources of thousands of years might be a quite burden to some young people. Artists must know about their opinion instead of simply teaching old stuff on and on. The key point is to make them realize that culture is all alive.” As Lin Zi’en, president of Macao Cultural Creative Industry Think Tank Association, expressed, in the process of creation, an artist is supposed to find difference between Chinese and Western cultures, identify sense of recognition, and build up correct values and morality so as to establish firm cultural self-confidence of exaggration. “Some magicians said that magic, as an art, need not get close to life. I don’t think so.” Weng Dazhi, council director of China Acrobats Association and president of Macao Magic Artists Association, said. He is exploring how to add the theme of humanist solicitude into his magic programs and paying heed to new visions brought by other disciplines of arts. “Artistic creation is never separated from details of life. For example, we can add some elements of calligraphy and fine arts to magic show. Magicians need to focus on living details while magic art need to achieve ‘crossover’ effect with other arts”.

澳门特邀代表合影 Group Photo of Delegates from Macao at the 10thNational Congress of CFLAC

“It demands a systematic approach to establish firm cultural self-

confidence. Besides focusing on youngsters and teenagers, we shall make joint efforts in the Mainland, Hong Kong, Macao and Taiwan for mutual reference and communication. The improvement of entire literary and art temperament in Chinese nation is the prerequisite for establishing firm cultural self-confidence.” Mao Junhui, member of China Theatre Association and theatre director, said. “In this promising age of national rejuvenation in culture, there is a lot to do and we shall make our own efforts in respective positions to enhance the rank of Chinese culture in the global stage of arts. We have no intention of hegemony at all but a sincere embrace for common prosperity.” Chen Zhiwei, vice chair of Yu Un Chinese Calligraphers and Painters Association of Macao, concluded.