台湾地区特邀代表：两岸文艺界携手助推新时代中华文化“走出去”

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

台湾地区特邀代表：两岸文艺界携手助推新时代中华文化“走出去”

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

Delegates from Taiwan: Joint Efforts across the Straits to Promote Chinese Culture Abroad

台湾特邀代表合影 Group Photo of Delegates from Taiwan at the 10thNational Congress of CFLAC

在经济全球化、文化多样化、互联网高度发达的信息时代，我们应该如何塑造中国的国家形象？如何展示中国文化中积极而富有正能量的一面？如何展示中华文明的魅力？如何让世界真正地了解中国？在第十次全国文代会上，台湾地区代表团的特邀代表们正在探索这些问题的答案。

越是传统的东西越是源头活水，越时尚

“我常常出国进行文化交流，参观国外的展览，每次交流经常有老外向我表示，他们越来越欣赏中国文化。然而在国内，却经常有人认为外国的艺术创作比国人的好，其实这是在不了解自身文化基础上产生的一种崇洋媚外的误解。”究其原因，台湾戏曲学院副校长、特邀代表蔡欣欣认为，这与我们的中国传统文化教育不够全面有关系，以致于不了解和不理解自身文化的优势。

“我们当年曾说，中国文化在台湾有所传承，台湾最美的景观在人。而如今，政治乱象、服务落差、待人恶劣……两岸很多媒体都有报道。”中国视协理事、台湾“中华节目内容制作产业发展协会”理事长汪威江代表认为，造成这种现象的原因是优良中国文化缺失，是20年岛内“去中国化”的结果。“如今台湾经济发展面临问题，要‘过冬’，过去一年，由于政治和一些社会突发事件，导致来台旅游者减少，很多商店和餐饮业关门，台企老板叫苦连天。温饱难，精神层面就难提出要求。”中国视协会员、台湾邓丽君文教基金会董事长邓长富代表说。

众多代表认为，台湾“去中国化”尤其对青少年的成长伤害巨大——在台湾，如今不少青年人很难堂堂正正地说自己是中国人。“温故知新，没有故何来新。香港武侠小说蜚声华人世界，很大一部分原因在于中文底子很好，情节来自于中国传统故事；反观当今，台湾孩子看日本漫画，底子是日本文化。”中国音协理事、台湾飞碟集团董事长吴楚楚说。台湾沈春池文教基金会秘书长陈春霖代表说，西方文化借助经济力量进入中华文化圈，我们的下一代在西方文化的影响下，对母体文化接收程度走低。“比方说过年这个概念，老一辈人喝完腊八粥，就觉得春节快到了，元宵吃完了，春节就过完了。而新一代年轻人对过年的概念都以圣诞节和情人节为始终。”“当今，台湾文化产业受到西方冲击，我们还能推出什么代表台湾的文化标志？”汪威江诘问。

邓长富代表认为，这种只有立场、没有是非的状况，需要文化的力量去纠正，“我们应该从文化底蕴的角度去影响青年人，避免下一代在文化上和价值上的失落与迷茫”。面对台独势力推动“去中国化”，两岸艺术工作者要有清醒的自觉，确立以中华传统文化为根基的文化自信。

中华文化是中华民族的价值支撑。中国文化精神、中华民族精神是中华民族发展的内在动力，是中国人民和中华民族发自内心的自信和自豪。习近平总书记在第十次全国文代会、第九次全国作代会上的讲话，强调中华文化传统的重要意义，更引发台湾特邀代表的强烈共鸣：“越是传统的东西越是源头活水，越时尚——当前的传统其实也是当年的创新。文艺作品不仅要继承弘扬传统，还要反映与人民的联系、反映人性。如何继承传统，如何面向时代？就是要保存精髓，萃取新意。”蔡欣欣认为，两岸传统戏剧一脉相承，尽管时空环境不同，但可以相互借鉴，共同发展。她说，一部好作品可以带活一个艺术门类，也可以带动两岸之间的交流，比如昆曲《牡丹亭》，两岸艺术家需要聚焦式地交流、对话，才能更深入地了解彼此特质，促进发展。

戮力同心，胜过千言万语

“直接交流，用作品说话，胜过千言万语。”吴楚楚等代表认为，在两岸交流、推动中华文化走出去的路途中，两岸文艺界携起手来，在文联等机构平台上创作与沟通，能达到更明显的效果。不少台湾特邀代表对中国文联拥有十几个文艺家协会非常“羡慕”，希望中国文联能利用丰富的资源和渠道，在对台交流领域把活动搞得更为丰富，更有实效。

“中国文联拥有十几个艺术门类的协会，如何将深奥的传统文化以流行文化的形式向年轻人传播，引导年轻人去学习传统文化，是非常重要的挑战。”中国民协会员、台湾创意游学协会副理事长刘建兴代表说。

中国杂协理事、台北市技艺舞蹈表演业职业工会理事长罗飞雄代表“盯上”了下一届文代会的名额：“希望能够邀请更多来自台湾的年轻艺术工作者参加，为他们了解大陆文艺发展提供交流平台和学习的机会。”台湾师范大学美术系名誉教授、台湾美术院副院长江明贤代表呼吁中国文联的“网上文艺之家”可以向台湾艺术家开放，成立一个两岸文艺资料库，作为一个艺术家了解彼此艺术发展的窗口，使两岸艺术家共享资源、相互学习。

中国杂协理事、台湾戏曲学院民俗技艺学系助理教授兼学务长程育君代表看中了中国文联文艺研修的项目，“希望两岸共同培养文艺人才，同时考虑招收台湾地区学员”。中国摄协理事、台湾“中华摄影艺术交流学会”名誉理事长钟永和，中国摄协理事、台湾“中华艺术摄影家学会”理事长林再生等摄影界特邀代表表示，希望两岸建立合作机制，促进两岸艺术工作者共同创作艺术作品，或就相同的主题进行各自创作，在对比和切磋中取长补短，相互学习，打造精品。台湾文艺协会理事长王吉隆代表建议通过组织假期两岸青年营、开展校园间联谊、进行毕业歌创作演出等形式，促进两岸年轻人之间建立友谊，加深了解，为两岸文化交流培养后继者。中国书协理事、台湾书法学会会长沈荣槐代表呼吁，两岸艺术家应该携起手来，共同努力将中华文化推向国际，增强中华文化的软实力，才能形成合力，向世界展示中国文化中积极而富有正能量的面貌。

“我们希望今后在‘一带一路’的国家战略当中，在中华文化‘走出去’的系列项目里，台湾的文艺界人士可以有所作为。”中国舞协理事、台湾艺术大学舞蹈学系教授林秀贞代表的说法代表了很多台湾文艺界人士的心声——推动两岸携手合作，助推实现新时代中华文化在国际舞台上的创新发展。

In this information age of economic globalization, cultural diversity and highly developed Internet, how shall we build up the national image of China? How to showcase the positive side of Chinese culture rich in positive energy? how to demonstrate the charm of Chinese civilization? And how to bring the world into a genuine knowledge of China? On the 10thNational Congress of CFLAC, delegates from Taiwan made endeavors to explore solutions to the above questions.

Tradition as Source, Flowing Water Becomes Fashion

“I often go abroad to conduct cultural exchanges and visit overseas exhibitions. In every visit of mine, some foreigners will tell me that they have come to enjoy Chinese culture increasingly. Nevertheless, many people in our country often take it for granted that artistic creation in foreign countries is better. As a matter of fact, it is a misunderstanding arising from a blind worship and lack of knowledge of their own cultural root.” As Cai Xinxin, vice chancellor of National Taiwan College of Performing Arts, put it, the reason lies in that our education of traditional Chinese culture, which is far from sufficient, leads to failure in learning about and understanding the advantage of Chinese culture.

“In the past, we used to say that Chinese culture has its own line of inheritance in Taiwan and the most beautiful scenery in Taiwan is the local people. Currently, political chaos, deteriorating service and bad manners…about Taiwan are always in media reportage across the Strait.” Wang Weijiang, council director of China TV Artists Association (CTAA) and president of Taiwan Chinese TV Program Production Industrial Development Association, held that all above were attributed to the absence of premium Chinese culture and outcome of intentional Desinicization in the latest two decades. “At present, Taiwan’s economic development is confronted with severe problems that greatly challenge its survival. In the past year, some unexpected incidents in political and social context have led to a sharp decrease of tourist from the Mainland. With so many shops and restaurants closed, local managers in related business are full of complaints. In face of great difficulty in materich livelihood, local people can hardly cater for their spiritual demands.” Deng Changfu, member of CTAA and president of Taiwan Teresa Teng Culture and Education Foundation, said.

Many delegates reached consensus that the Taiwan’s Desinicization has done a great damage to the growth of local youngsters and teenagers, for quite few of them can frankly admit their Chinese identity. “As a saying goes, review of the past helps one to understand the present. Without the past, we have nothing to say about the present. The swordsman fiction in Hong Kong was once very popular in the Chinese circle, which was mostly attributed to its solid foundation of Chinese literature and plot source from traditional legends. Now the children in Taiwan mostly favor Japanese comic cartoon and their culture will be naturally grown up on Japanese basis.” Wu Chuchu, council director of China Musicians Association and president of Taiwan UFO Group, alleged. As Chen Chunlin, secretary general of Sheen-Chuen Chi Cultural & Educational Foundation, held, with economic power, Western culture has invaded the Chinese cultural circle, and in the influence of Western culture, the younger generation has shown a low acceptance of their motherland culture. “Just take Chinese New Year celebration as an example, the elder generation takes the porridge on December 8 of Chinese lunar calendar as the at the beginning of preparations for New Year celebration and sticky-rice dumpling on January 15 of Chinese lunar calendar as the official end of celebration. Nevertheless, the younger generation simply regard New Year celebration as a holiday between Christmas and Valentine’s Day.” “Currently, the cultural industry in Taiwan has been dealt a heavy blow by the West. Except Jay Chow, what else can we have as the cultural symbol of Taiwan?” Wang Jiejiang asked.

As Deng Changfu sees it, such a situation where youngsters hold their own positions without ability to tell right or wrong must be corrected by the power of culture. “We shall try to influence those young people from the perspective of cultural root and keep them from missing or being confused about culture and values.” In face of Desinicization incited by pro-independence in Taiwan, the art workers across the Strait must recognize the necessing to build up a cultural self-confidence on the basis of traditional Chinese culture.Chinese culture is the backbone in values for the Chinese nation. Spirits from the Chinese culture and of the Chinese nation serve as the inner motivation for Chinese national development as well as pride and self-confidence of the Chinese people. President Xi Jinping’s speech on the National Congress of CFLAC and CWA has stressed the significance of traditional Chinese culture and aroused great sympathy among delegates from Taiwan.“With tradition as its source, a flowing water will become a new fashion—the tradition we have today was once the innovation in the past. Besides inheriting and promoting tradition, literary and art works are supposed to reflect elements in relationship with the people as well as the human nature. One of the most important ways to cater for the current period while inheriting the tradition is to achieve innovations while preserving the essence.”As far as Cai Xinxin is concerned, the traditional theatre across the Straits, developed from the same origin, share a lot for mutual reference and developments despite varied context of time and space. A premium works will bring revival to an art discipline and even activate exchanges across the Straits. Just take Kunqu opera Peony Pavilion as an example, artists across the Straits need to conduct a dialogue or exchange in a common focus so as to learn more deeply about each other’s feature, and to promote future development.

Joint Efforts Is Better than Thousand Words

“The direct exchange via works is better than thousands of words.” Many delegates such as Wu Chuchu believed that during exchanges across the Straits and in the process of promoting Chinese culture abroad, joint efforts between literary and art circles across the Straits, including creation and communication on such organizational platforms as CFLAC, will achieve a better result. Admiring that CFLAC has twelve nationwide associations of varied arts as its group members, many of the Taiwan delegates expected CFLAC to utilize its abundant resources and channels to host exchange events with more contents and efficiency in Taiwan.

“Blessed with more than ten associations of varied arts, CFLAC will take it a great challenge as how to introduce the sophisticated traditional culture to young people in a way of pop style and guide them to learn about it.” Liu Jianxing, member of China Folk Literature and Arts Association and vice president of Taiwan Creative Tourism Association, said.

Luo Feixiong, council director of China Acrobats Association and president of Taipei Professional Guild of Skilled Dance Performance, confessed his ambition for involving more Taiwanese peers as members of national committee of CFLAC in the next congress, “I hope that more young art workers in Taiwan will be invited for participation, which will provide them with an opportunity to learn about literary and art development in the Mainland as well as a platform for exchange.” Jiang Mingxian, honorary professor of Department of Fine Arts of National Taiwan Normal University and vice president of Taiwan Fine Arts Academy appealed that the “web-home of literary and art workers” of CFLAC be open to Taiwan artists and serve as a database for literary and art documents across the Straits. Such a window for artists to know about their peer’s progress will enable the counterparts across the Straits to share resources and learn from each other.

Cheng Yujun, council director of China Acrobats Association and associate professor and dean of Department of Folkloric Skills of National Taiwan College of Performing Arts, thought fondly of the literary and art research projects by CFLAC, “I hope that literary and art talents can be jointly fostered across the Straits and students from Taiwan can be taken into consideration.”Such delegates in photography profession as Zhong Yonghe, council director of China Photographers Association and honorary president of Taiwan Chinese Photographic Art Exchange Society, and Lin Zaisheng, council director of China Photographers Association and president of Taiwan Chinese Photographic Art Exchange Society, expressed their hope that cooperation mechanism can be established to promote joint artistic creation among photographers across the Straits as well as respective creations under the same theme where peers can achieve mutual learning and produce refined artistry through comparison and discussion. Wang Jilong, president of Taiwan Literature and Arts Association, advised that youth camp across the Straits be organized for inter-campus friendship, graduation song creation and joint performance so that young people across the Straits can make friends with each other and deepen understanding with each other as predecessors for future cultural exchange. Shen Ronghuai, council director of China Calligraphers Association and president of Taiwan Calligraphy Society, called on the artists across the Straits to make joint efforts to promote Chinese culture on the international stage, showcase the active outlook and positive energy of Chinese culture to the world, and thus enhance the influence of Chinese culture.

“In our expectation for the future, in the national strategy of“B&R” and series of projects of "Chinese Culture Going Abroad", the literary and art circles in Taiwan can also offer its strength and attain its achievments.” Lin Xiuzhen, council director of China Dancers Association and professor at Dancology Department of National Taiwan University of Art, uttered the voice of heart shared by many other peers in Taiwan—to make the joint cooperation across the Straits and help realize the innovation and development of Chinese culture on the international stage in this new age.