Zong Rao wrote the name of the museum, Wang Meng, Feng Jicai, Shen Peng and other inscriptions, which innovated the way of intangible cultural heritage inheritance (see above).
Leizhou is rich in sugarcane. When mature, hundreds of acres of sugarcane form a green sugarcane sea and become a unique landscape. In the depths of the vast sea of sugar cane, there is a small village with less than 300 people. Its name is Pastoral Village.
Who would have thought that in this village, which will never be marked on the map, China's first folk song museum-China Gray Museum was born. What's more commendable is that this museum, which was spontaneously built by farmers in the village, has attracted the attention of scholars such as Zong Rao, Wang Meng, Feng Jicai,,,,,, He Manzong, Bao Junyi, Sun Feng, Ji Guangming, Li Zhuoqi, Tong Xiaoyong and Wang Zhongyong.
China Gray Pavilion is a comprehensive public welfare venue for displaying, performing, training and discussing Gray culture and Leizhou civilization. The most distinctive part is the monument wall composed of a group of Gray lyrics copied by calligraphers. It combines the traditional calligraphy art with the local folk song Gray, thus inspiring the pride of the local people in Gray on the national intangible cultural heritage and consciously investing in the protection and inheritance. Tsung i Jao, a master of Chinese studies, personally wrote the name of the museum.
Construction of "China Gray Pavilion" began, and the first phase of the project is expected to be completed by the end of this year. The founder and curator of the museum is Fu Mahuo, a poet who came out of Leizhou countryside. In the blueprint of him and other rural villagers, the entire China Gray Museum will cover an area of 39,000 square meters, which is a comprehensive public welfare place for displaying, performing, training and discussing Gray culture and Leizhou civilization.
Among the completed calligraphy of some inscriptions in the Gray Pavilion in China, the most striking one is a plaque with "Gray Pavilion in China", written by Tsung i Jao, a master of Chinese studies who is also known as "Rao in the North and Rao in the South" with Ji Xianlin. Fu Mahuo recalled the invitation to Rao Lao's book title and said, "Professor Zong Yirao was introduced by a friend, and he felt that if he was invited to write the title of the museum, he would definitely increase his popularity. Moreover, Rao is always chaozhou people, and Chaozhou dialect has some similarities with our Leizhou dialect. Their folk songs are the same as those in our hometown. Rao Lao is very happy to participate in this matter, and I have to thank him. "
Tsung i Jao is not the only one who participated in the construction of reggae concert hall. Wang Meng, former Minister of Culture and writer, Feng Jicai, member of the Standing Committee of Chinese People's Political Consultative Conference and Counselor of the State Council, famous calligraphers Shen Peng and Chen Yongzheng, and famous painter Lin Yong wrote inscriptions for China Reggae Museum. Attract cultural celebrities' inscriptions with such charm. The reason for Fu Ma's torch is that they are "a group of farmers who want to do things".
The spontaneous cultural protection of villagers in Gray can be traced back to a long time ago. They published their own folk literature and art book-"Gray Collection in Rural China" in Huacheng Publishing House, which was written by villagers for two years. After Gray's collection, why build such a public welfare Gray Museum? Fu, a native of the pastoral village, explained that Fu Haiyan won the honor of "the representative inheritor of national intangible cultural heritage", which is not only the glory of the pastoral village, but also the glory of Leizhou people. The publication of China Rural Gray Collection has the characteristics of "village history", which is not enough to represent the whole Leizhou. Only by building a self-built exhibition venue that integrates the essence of Leizhou Song Wenhua can we fully display the diligence and wisdom of Leizhou people. There are fewer and fewer Leizhou people singing Gray songs, especially girls' songs. The national intangible dynamic folk culture-"Daughter Song" is short of successors, in a difficult situation and weak in hardware construction. It is very necessary and urgent to fix and protect this dynamic folk culture in a material static way. "Calligrapher throwing caution to the wind", presented Mo Bao at his own expense.
Speaking of why such a large-scale museum should be built, Fu Mahuo said that he was "desperate". "I left Leizhou Peninsula in Zhanjiang before I was twenty years old. I have been writing for eighteen years since I left my hometown, but I never thought about my relationship with reggae. Until two years ago, I once went back to my hometown to visit my mother. When I passed the ridge, I suddenly heard someone singing while doing farm work. My hair stood on end at that time, and I was completely thunderous. Not only words, but also its musicality, which is very impactful. It was at this time that I realized that I have written poems for so many years, which may be the reason. So, out of literary complex, I began to pay attention to Gray, only to find that our village has the custom of singing Gray, which has a history of more than 280 years. Reggae may have influenced me when I was born and entered my blood. In a sense, I know myself again and see myself clearly. It can be said that I am returning to myself. "
In the process of doing this, the difficulty is still the lack of funds. To build such a big museum, money is the most important thing. Fu Mahuo said that he hopes to cooperate with entrepreneurs who are interested in Leizhou cultural construction. If he couldn't find the funds, he said he would do it bit by bit and spend his whole life on it.
Reggae wall. As one of the main components of the Gray Museum in China, the Gray Wall will invite calligraphers and famous scholars to transcribe more than 580 Gray songs, and then each song will be carved into a monument made of fine materials, and then these stone tablets will be embedded in the wall. Fu Mahuo described the Great Wall of Gray as "walking in an artistic picture composed of slowly unfolding calligraphy and Gray".
The writing of nearly 600 lyrics and finding calligraphers who are willing to cooperate have become another major problem faced by China Gray Museum. Fu Mahuo said that the process of finding a calligrapher is multi-pronged. Some people find calligraphers we are familiar with through themselves or friends, some people buy books through commercial channels, and some people just come into contact with calligraphers all over the world according to a calligraphy yearbook.
The famous Mo Bao is hard to find, and even fewer people are willing to write for free. Fu Ma is glad to live at this time. Their behavior has been understood by calligraphers, and most of them have not questioned or put forward conditions. "Even many of them transcribe Gray for us for free and then send it to us. Paper and ink postage are paid by calligraphers themselves. "
More than 130 calligraphers participated in Gray's copying, and they are still collecting. Fu Mahuo does not agree that asking calligraphers to copy lyrics is a kind of "transaction". He believes that calligraphy and Gray Wall are an interactive artistic cooperation. "A lot of calligraphy is beautifully carved on Xuanwu stone, but the calligraphy on the stone tablet is another general taste." Arouse a sense of cultural pride, young people will give up drugs and learn reggae.
"Now, there are fewer and fewer people who like to listen to Gray. Generally, only the elderly go to the show. " Fu Haiyan, who was recognized as the "inheritor of intangible cultural heritage", is well-known and even became a "inheritor", but she can't find her own inheritor so far, because her income is too low, and no young people are willing to learn.
The Gray Museum in China has changed Gray's endangered status to some extent. "Gray is deeply rooted in the memory of Leizhou people, waiting to be awakened," said Fu Mahuo. When Gray's inscription was engraved, many villagers sang the familiar Gray around the stone tablet. Just as Fu Mahuo was moved by Gray's manuscript and disliked Gray, more and more villagers were moved by Gray Museum in China, such as Fu Tonghe, deputy director of Gray Museum in China. In the past, in the eyes of Fu Ma, Fu Tong was similar to the idle youth in the village, taking drugs and fighting, but singing well. It was not until Fu Haiyan became the "inheritor" that Fu Mahuo returned to his hometown to fight, and the famous scholar copied Gray. Fu Tonghe thought Gray was "a little interesting", gave up drugs, concentrated on learning girls' songs, participated in the construction of Gray Museum and protected Gray.
China Gray Hall is a public cultural facility spontaneously established by farmers, and it is also the first cultural institution that tries to preserve and develop dynamic cultural and intangible cultural heritage in static and material forms. Fu Mahuo described the future influence of China Reggae Concert Hall as follows: "In a fixed and remote place, no one can move it. As long as it takes a long time, it will become a meaningful thing, an influential symbol, which is longer and more meaningful than the publication of Gray Collection. " In fact, the role of reggae concert hall is gradually emerging. Fu Mahuo said that Gray, who was "nothing" in the eyes of the villagers, was copied by so many famous scholars, so many outsiders paid attention to it, and even built a museum for it, which suddenly made them feel a sense of pride in their own culture. "With this cultural pride, someone will take the initiative to learn to sing. The purpose of building the China Gray Museum is to let Leizhou people regain their confidence in singing Gray "; Fu Mahuo talks about inheritance and protection, and he has his own ideas. Nowadays, in rural villages, more and more people begin to shout a section of Leige. I believe that in the future, more and more Leizhou people will participate.