When we need to know something or an event, we need to make a good investigation. After the investigation, we usually need to write an investigation report. How to focus the investigation report? The following is the cultural heritage investigation report (generally 5 articles) I compiled, hoping to help you.
Investigation Report on Cultural Heritage 1 I. Preface
In order to deeply understand the development and protection status of Guangdong Cantonese opera culture, this survey is conducted. The survey method is a combination of oral survey and online data collection survey. After the investigation, I will summarize the contents of the investigation, and the investigation report is as follows:
Second, the origin and characteristics of Cantonese opera
Foshan is the birthplace of Cantonese opera. In the late Ming and early Qing Dynasties, Guangdong Opera in Foshan flourished and the Qionghua Guild Hall was established. Throughout the ages, celebrities have come forth in large numbers, and good plays have been staged constantly.
Cantonese opera is popular in Guangdong Province, southern Guangxi Zhuang Autonomous Region, Hong Kong and Macau. There are also Cantonese opera performances in Southeast Asia, Oceania and areas where overseas Chinese live in Guangdong. There are artists, formal organizations, trade associations and traditional performance venues in Southeast Asia, such as "Qing Xin" in Singapore and "Changchun" in Kuala Lumpur, which have trained many famous Cantonese opera actors.
The lyrics of Cantonese opera are easy to understand. Musically, folk songs are interspersed in the singing of "Banghuang", and the singing method is changed from "falsetto" to "flat throat" (true voice). After repeated practice, they are all sung in Guangzhou dialect. The artistic style is almost freehand. The scenery is simple, and the designated scenes in the play are mainly displayed through virtual performances. When the program can't be shown, the signboard says "riverside" and "mountain". The "Provincial and Hong Kong Large Class" performed in our city absorbed some artistic nutrition from drama, opera and film, and made considerable improvement in reflecting contemporary life and making the performance more lively. Most of the repertoires are Shengdan dramas, which emphasize singing over doing, while literary dramas are more than martial arts dramas. However, there are also some new performance programs that refine and create from life, learn and absorb performance skills from movies and dramas, and form a free, flexible, popular and delicate performance style based on realism. The costumes in the early stage of Cantonese opera mainly imitated the costume style of the Ming Dynasty and were improved into costumes. During the Qing Dynasty, Peking Opera became more and more popular, communication increased gradually, and the clothing system was gradually influenced by Peking Opera. At that time, the role of court officials was added to the new play, and some costumes also had the style of official uniforms in the Qing Dynasty.
Third, the current development situation
Since the reform and opening-up, Cantonese opera has faced a great impact on popular culture in Hong Kong, Macao and Taiwan. However, with the unremitting efforts of Cantonese opera people, they not only firmly grasped this cultural position, but also actively promoted the reform and development of Cantonese opera. 10 Over the years, Guangdong Cantonese Opera Troupe has explored the reform of Cantonese Opera to varying degrees, and many operas have had a certain influence throughout the country, bringing in a large number of new Cantonese opera performers. At the same time, the Cantonese opera performance market is relatively stable.
Guangdong * * * has more than 30 provincial, municipal and regional Cantonese opera troupes, and there are countless performances by folk groups and street opera fans. Taking Guangdong Cantonese Opera Theatre as an example, the average annual performance in China is 1 10, with a seating rate of over 90% and a box office profit of over 20,000-30,000 yuan. On the one hand, it shows that Cantonese opera has a profound cultural soil and a broad foundation, and its regional cultural characteristics and artistic expressions that appeal to both refined and popular tastes are very consistent with the deep cultural mentality of the people in Cantonese. On the other hand, it is also the result of the efforts of Cantonese opera colleagues in the development of Cantonese opera in recent years.
Foshan is the birthplace of Cantonese opera, and Cantonese opera is like a duck to water among Foshan people. According to incomplete statistics, there are currently 206 "private bureaus" with official names in Foshan, and more than 400 "private bureaus" without names or surnames. There are villages and towns, and Foshan Cantonese Opera thrives.
It is reported that these "private bureaus" active in the people have the following characteristics: First, they adhere to the purpose of "promoting national culture and building characteristic brands" and provide local villagers or residents with a good place to entertain themselves in their leisure time for a long time; Second, on the basis of singing traditional Cantonese opera (Quyi), I wrote, directed and performed some positive and healthy new songs, and constantly explored the skills and methods of accompaniment and singing to enrich the performance content and programs of Cantonese opera (Quyi); Third, stick to activities at the grassroots level, while constantly improving yourself, do not forget to cultivate and bring up new people, and play a role in supporting, edifying and influencing young people. At present, a group of young and promising Quyi talents stand out; Fourth, insist on serving the grassroots and the masses, and voluntarily send Cantonese opera (Quyi) to the countryside for free, with 6 180 activities per year, which is the "light cavalry" for grassroots cultural construction; Fifth, their unremitting efforts have won the support of governments at all levels and all walks of life. Many teams have also participated in performances and competitions and won many awards at the district, city, province and even national level.
Among them, Jun 'an, Rong Gui and Daliang in Shunde District, Yanbu, da li and Pingzhou in Nanhai District, Shi Lan, Shiwan and Pu Jun in Chancheng District, southwest of Sanshui District, and Lianhua Town in Gaoming District have become the main force of local mass cultural activities.
Fourth, protective measures.
(A) to cultivate young audiences' interest in Cantonese opera
For the bottleneck of the development of Cantonese opera, the experts attending the meeting have a general understanding, that is, the cultivation of the audience. Without an audience, the development of Cantonese opera is impossible. Under the impact of multi-culture in modern society, the audience of traditional drama is shrinking. How to pass on the excellent traditional drama and cultivate the audience is the key. Ni Huiying, a famous Cantonese opera artist, has been paying attention to the popularization of Cantonese opera education. She proposed that Cantonese opera education and all kinds of art education should be included in the syllabus to cultivate children's artistic literacy from an early age. For example, in primary and secondary schools, one class per semester is devoted to an art education, such as traditional drama, dance and symphony. So as to plant a seed of art in children's hearts, make children interested in art and become an audience to appreciate art in the future. Experts say that it is a very good move for Cantonese opera to enter the campus, but how to enter it is the key. Cantonese opera must have good teachers and excellent teaching materials. A good teacher can make children learn to appreciate, and a good work can make children interested in learning.
(B) to carry out rookie training programs
Representatives from Shenzhen, Guangzhou, Guangdong Cantonese Opera School, Hong Kong and Macao. Exchange experiences on the protection and inheritance of Cantonese opera. Since 2004, Bao 'an District of Shenzhen has carried out the work of "Opera Entering Campus" in an all-round way, popularizing opera art education in primary and secondary schools, taking opera as a characteristic course of the school, and adopting the method of "discipline infiltration" to make Cantonese opera, Peking Opera excerpts, Facebook and lyrics enter music classes, dance classes, art classes and Chinese classes. Invite national and local famous opera singers and experts to teach, tailor school-based teaching materials for primary and secondary school students, build a platform to organize various Cantonese opera performances, participate in various national opera competitions, and enrich students' stage performance experience. Shenzhen Baoan has achieved remarkable results in the work of "drama entering the campus". Through the study of traditional opera and the edification of traditional culture such as advocating good and restraining evil, harmony is precious, which improves students' temperament and cultivation and cultivates a large number of opera fans. In recent years, Bao 'an's Cantonese Opera Baby has won many awards in various national competitions, and also won the gold medal in China's children's drama Little Plum Blossom. Shenzhen Baoan's work of "Opera Entering Campus" has been highly valued by superiors and its achievements have been affirmed. In August last year, at the meeting held by the Baoan District Political Consultative Conference, some people suggested that "Bao 'an Opera Baby" should be made into a cultural brand of Bao 'an.
Over the years, Hong Kong has been committed to promoting and inheriting the art of Cantonese opera. Both the Hong Kong government and the people attach great importance to the protection and inheritance of traditional operas, and set up the Cantonese Opera Protection and Development Fund. In addition to the government's annual financial support, organizations and charities also raise funds, and the public also actively donate. Although Cantonese Opera performances are funded by the Cantonese Opera Fund, the funding generally only accounts for 20% to 30% of the investment. Therefore, many Cantonese opera troupes in Hong Kong are market-oriented and self-financing, so Hong Kong attaches great importance to the cultivation of outstanding actors. As a representative Cantonese opera unit in Hong Kong, Bahe Cantonese Opera Club invites local experienced Cantonese opera artists to teach students, and takes traditional excellent scripts as teaching materials to improve their professional quality. Since July last year, Bahe Club has launched a rookie training program. In half a year, more than 30 Shang Yan events have been held 100, with the ticket price of100 yuan and the attendance rate of about 70%. All bought by the audience. Among them, 70 performances are also combined with tourism promotion. The performances in Yau Ma Tei are loved by many foreign tourists and gradually become a must-see for foreign tourists.
Verb (abbreviation of verb) inherits Cantonese opera.
In August, 20xx, Guangdong successfully held the first Youth Cantonese Opera and Cantonese Opera Exhibition. The 73 Cantonese operas and Cantonese opera programs have a wide range of themes, forms and varieties, including traditional Cantonese operas and modern Cantonese operas that combine modern dance and show the elites of the times. On the basis of maintaining the traditional Cantonese opera art, programs reflecting the interests of study and life have been incorporated, and the integration of tradition and modernity has become a highlight of the performance. Most of the performers are students from kindergartens and primary and secondary schools in various cities. They have a solid foundation. The appearance, charm, singing skills and martial arts of the little actors on the stage left a deep impression on the experts and audience at the scene.
Cultural Heritage Investigation Report 2 Objective: To investigate the folk customs of Laizhou Spring Festival.
Process: When visiting relatives in the New Year, investigate relatives and friends.
Content:
The first day of the first lunar month is a traditional Chinese festival, commonly known as the Spring Festival. In China, the birthplace of the Spring Festival, there are many customs of the Spring Festival. People who have worked hard for a year have been busy having a good Spring Festival since the 23rd day of the lunar calendar1February. The nights on the 13th or 24th day of the twelfth lunar month are collectively called "Twenty-four Nights". According to legend, this day is the day when the kitchen god goes to heaven, and there is a folk custom of sending the kitchen god to heaven. On the 23rd of the twelfth lunar month, it's the Festival of Returning Kitchen, also called the Festival of Sweeping Dust.
Dust Festival, also known as Dust Day. It is said that this festival originated from the custom of "sweeping the year" in the Yao and Shun dynasties. It was originally a religious ceremony for ancient people to drive away the epidemic. In the Tang Dynasty, the wind of "sweeping graves to celebrate the New Year" prevailed and became an activity to pray for a safe and auspicious New Year, which later developed into a dust-sweeping festival. Because this is a civilized custom of cleaning and disinfection, it has been circulated for a long time.
Dust-sweeping Festival is called "house sweeping" or "house sweeping" in the north, "dust dusting" or "external dusting" in the south and "big washing (happy) day" in the northeast. On this day, every household will have a general cleaning, washing furniture, painting walls, pasting windows, hanging New Year pictures in stick grilles, except Chen Buxin to welcome the Spring Festival. Dust-sweeping Festival is also called New Year's Eve and New Year's Eve.
Jiaodong people have a unique custom during the Spring Festival, that is, every household should steam jujube cakes. Cross out the "nose" on the surface of the cake and embed the red dates.
In Cai Zhou, jujube cakes and cocoons are made during the Spring Festival. Jujube cakes are used to worship ancestors, gods of wealth and bodhisattvas. God of heaven and earth. Five cakes overlap, and the offerings are withdrawn on the third day of the twelfth lunar month; On the fifteenth day of the first month, five cocoons and three sacred insects. When offering sacrifices, the ancestors are in the middle, the God of Wealth is on the right, and the Bodhisattva is on the left, indicating more wealth and more children. The head of the sacred worm is a round steamed bun, with a comb, black eyes and a red tongue, and the trunk is a snake-shaped disk. Put a bowl of grain in front of ancestors, the god of wealth and bodhisattvas, put the sacred insects in this bowl of grain, eat them after the sacrifice, and enlarge them in the grain depot until February 2, when children share them. The "saint" of the "holy worm" is homophonic in Jiaodong, meaning "surplus", which means that the grain is abundant and there is more than one year. Fukuyama and Mu will equally make "sacred insects" into male and female thorns, with red dates in their mouths, and put them in rice-flour jars and boxes to pray for the increase of wealth and inexhaustible.
Up to now, Jiaodong still retains the custom of cracking "Guo Nai" with molds on Tanabata. Appropriate fruit is made in the coastal area of Laizhou. Seven edible colors are mixed into noodles, then fried and strung together to please children. Moon cakes in Mid-Autumn Festival are not only used for sacrifice and eating, but also for giving gifts to relatives and friends, wishing each other a reunion and expressing blessings. When Laizhou people make moon cakes, they will pinch out the pattern of rabbits smashing medicine. In the evening, the children hold moon cakes and sing to the moon: "The moon is full, the moon is full, and a stone hits an acre of land;" The moon is high; The moon is getting higher, once a year. " Within one year after marriage, the new wife will bring back fried noodles, fancy cakes and steamed buns from her parents' home to show her blessing.
Experience:
The passage of time proves my unyielding and proud. In this social practice, I have endured many incomprehensible eyes and long hours of work, and accepted challenges from all sides.
If the richness of knowledge is a person's internal accomplishment, then practice is the external embodiment of accomplishment. Modern students not only need to enrich their knowledge, but also pay more attention to practice. Practice can make a person feel happy when applying theory, and can make a person reflect his life value in society.
I hope I can have more opportunities to participate in such activities in the future, so that I can constantly improve my thinking and behavior.
Cultural Heritage Investigation Report 3 The protection of intangible cultural heritage has been paid more and more attention by the government and people. In recent years, the protection and publicity of intangible cultural heritage have been carried out a lot, but the actual effect of its protection should be seen through public understanding, concern and support. China's existing local legislation and draft central legislation both emphasize responsibility and obligation, but fail to effectively solve the actual understanding and recognition of the heritage that the public should get when participating in the protection of intangible cultural heritage, thus hindering effective protection and inheritance. Through questionnaire survey, this paper studies people's cognition of intangible cultural heritage, snoops on the effect and present situation of protection, and puts forward relevant suggestions for some problems.
In recent years, the protection of intangible cultural heritage has been paid more and more attention by the government and people, and a large number of intangible cultural heritage protection and publicity work have been carried out. But the actual effect of its protection depends on the public's understanding, concern and support. Therefore, our research group specially organized a questionnaire survey, which was distributed and recycled to the public in Ningbo and Wenzhou.
Zhejiang Province passed the Regulations on the Protection of Intangible Cultural Heritage in Zhejiang Province in xx, and local government departments have also actively carried out some protection and rescue work, but because the protection has just begun, there are still many problems in the work. As far as the inheritors and experts of intangible cultural heritage we interviewed this time are concerned, the constructive destruction of many local governments is just another kind of destruction of intangible cultural heritage. In terms of protection, the government has a tendency to attach importance to the declaration of the list and ignore the actual protection. Many protection funds are difficult to implement and young people's acceptance of traditional culture is not high. In many places, the propaganda work stays on sports, achievements and tasks, with little effect. Moreover, many provinces have also issued relevant protection regulations, but legislators have always emphasized responsibilities and obligations, and paid little attention to the actual effect of protection. For the public, they emphasize that all units and individuals have the obligation to protect intangible cultural heritage, but rarely make effective contributions to the benefits brought by excellent cultural heritage to the public (such as effective publicity and education on relevant intangible cultural heritage knowledge). If the public only has the obligation to protect and has no right to benefit from protection, what about the inheritance of intangible cultural heritage? Under the protection mode led by our government, it is very necessary to know the actual situation of the public, and on this basis, discuss the role of the public in the protection of intangible cultural heritage.
In view of this, we organized this survey, hoping to have an objective understanding of the protection status. The survey shows that citizens in Ningbo and Wenzhou have a certain understanding of intangible cultural heritage, especially the excellent local intangible cultural heritage. However, different intangible cultural heritages get different opportunities because of the differences in their protection and publicity, among which the legends of Liang Zhu and Wenzhou Drum Ci are the most concerned by the public. Fortunately, although the vast majority of citizens do not understand the laws and regulations related to the protection of intangible cultural heritage, they have expressed high expectations for the intangible cultural heritage to embark on the track of rule of law.
Investigation Report on Cultural Heritage 4 65438+ 10 From 9 October to 5 February/KLOC-0, the editorial department of Suizhou municipal government portal conducted an online investigation on the protection of intangible cultural heritage in our city, aiming at understanding the relevant situation, collecting opinions and suggestions, and promoting the protection and inheritance of intangible cultural heritage in our city.
The investigation report is as follows:
I. Findings
1 Structure of personnel participating in the survey
2. Understanding of intangible cultural heritage
3 understanding of the protection of intangible cultural heritage in our city
4. Opinions on promoting the protection of intangible cultural heritage
Second, the result analysis
Judging from the people who participated in the survey, the age is between 18 and 60 years old, which is the age when officials start businesses, and they pay attention to a wide range of things. The citizens who participated in the survey were very clear about the concept of intangible cultural heritage, most of them knew it, and very few did not. This shows that we have a general understanding of intangible cultural heritage, but we need a deeper understanding.
The ways to understand intangible cultural heritage are mostly through radio and television, internet, newspapers and magazines, and rarely through publicity materials of relevant departments. However, no one has a clear understanding of the intangible cultural heritage projects in our city, most people know something, and a few people don't know at all. It can be seen that the publicity of relevant departments should be strengthened, so that everyone can have more and deeper understanding of the intangible projects in our city.
The protection of intangible cultural heritage is considered very important by most interviewees, but people seldom pay attention to this work. Most people sometimes pay attention to it, and nearly 40% people don't pay much attention to it. This is due to different personal concerns and insufficient publicity. As a result, everyone is not clear about how to protect the intangible cultural heritage of our city. As a result, most people think that this work has not been done well, and this result needs to be improved.
Participants also had serious thoughts on the problems existing in the protection of intangible cultural heritage in our city. They believe that the biggest problem is that the people don't know enough and their participation enthusiasm is poor. The second problem is insufficient publicity and attention, which has sounded the alarm for the relevant departments. Where does the resistance to advance this work come from? Participants said that the main reason is that people don't realize the importance of intangible culture protection and inheritance, and teenagers, as the main force of inheritance, are not interested in intangible culture. Relevant departments should look for breakthroughs from these aspects to promote related work.
Three. Comments and suggestions
On February 19, it was learned from the Municipal Bureau of Culture and Sports that our city has done a lot of work in rescuing, protecting and inheriting intangible cultural heritage: making full use of cultural positions such as libraries, museums, art troupes (intangible cultural heritage protection centers) and cultural centers (stations), and using cultural and natural heritage days, legal publicity days and other nodes to popularize legal knowledge of intangible cultural heritage; Incorporating the protection of intangible cultural heritage into the national economic and social development plan, Suizhou Intangible Cultural Heritage Protection Implementation Plan and Suizhou Intangible Cultural Heritage Project Protection Units and Representative Inheritors Management Interim Measures have been promulgated successively, which has strengthened the government's leadership, organization and coordination on the protection of intangible cultural heritage; Strive for project funds, strive for special subsidies for national and provincial intangible cultural heritage projects, and use them for the protection of intangible cultural heritage projects, the restoration of traditional plays, and the training of reserve talents; Take measures to improve the protection of intangible cultural heritage, strengthen inheritance and build a protection brand. At present, there are three national intangible cultural heritage projects in our city (Suizhou ancient painting and drama, legend of Yandi Shennong and Yan Di Festival), four provincial intangible cultural heritage projects 14, 85 municipal intangible cultural heritage projects and 48 county intangible cultural heritage projects 148. National intangible cultural heritage 1 item, 9 provincial intangible cultural heritage items, and municipal inheritors 160 people. Provincial cultural and ecological protection zone 1 piece (Luoyang town). On 20 17, Suizhou Ancient Painting Art Theatre was declared as a provincial non-genetic demonstration base.
At the same time, there are also some problems in the intangible cultural protection and inheritance in our city, such as weak inheritance and utilization, imperfect education and training system for intangible talents, and insufficient capital investment.
According to the survey results and public opinions and suggestions, the following opinions are put forward on how to promote the protection of intangible cultural heritage in our city:
First, strengthen the publicity of intangible cultural heritage projects and related knowledge in our city, and carry out a series of activities such as entering the campus, entering the community and entering the family. To enhance the public's cognitive level and promote the discovery, rescue and protection of intangible culture. For example, in June 5438+February last year, Suizhou's first intangible cultural reference book "Overview of Suizhou's Intangible Cultural Heritage" was published by Suizhou Education, Culture, Sports, Press, Publication, Radio and Television Bureau, which helped the public to understand intangible culture.
The second is to focus on inheritors and build a team of non-legacy talents. Establish and improve the non-genetic inheritance mechanism, encourage representative inheritors to teach skills through training, exchanges and seminars, improve their skills, and develop and expand the non-genetic inheritance team.
The third is to implement capital investment, learn from the experience of other countries to build a heritage platform and support the construction of intangible cultural heritage projects. For example, the construction of a folk street in Daiyue District, Shandong Province, the introduction of Taishan clay sculpture, Mijia Bufan, Wang Shi weaving and other non-legacy projects, so that the inheritance of non-legacy skills has a special position, but also support the establishment of paper-cut museum, Taishan clay sculpture art museum and experience museum, Dawenkou painted pottery exhibition hall and other heritage bases, so that non-legacy projects are more ornamental, entertaining, popular and vivid. In recent years, Suizhou ancient painting drama has flourished on the stage, which is inseparable from the efforts of Suizhou ancient painting art theater.
Fourth, actively explore the way of combining the protection of intangible cultural heritage with the development of cultural industry, and promote Suizhou to form a brand of folk cultural products with regional characteristics, so as to support literature with literature. Strengthen the collection, excavation and arrangement of traditional handicraft projects, and expand the influence of folk handicrafts; It is necessary to integrate with the market, operate the intangible cultural industry with the concept of market economy according to the market demand and people's actual needs, and let the intangible cultural industry have endogenous power.
In a word, intangible cultural heritage is valuable cultural resources and great spiritual wealth. We should consciously protect and make good use of Suizhou's intangible cultural heritage, promote its creative transformation and innovative development, and let the intangible cultural heritage shine, which will play a positive role in enhancing Suizhou's cultural self-confidence and creating fine products!
The cultural heritage investigation report 5 firstly analyzes the problems existing in the inheritance and protection of the cultural heritage of Languan Opera in Laizhou City. With the development and changes of the times and social life, the living environment of Languan Opera is gradually deteriorating due to the impact of emerging cultures such as television, movies and the Internet.
First of all, people lack cognition and attention to Lan Guan Opera. It is a serious phenomenon that people from all walks of life do not know enough about what intangible cultural heritage is and the importance and urgency of its protection. This requires government units and agencies to carry out long-term and complicated propaganda work for the people. Second, due to the lack of professionals, the work is not in place.
Third, the investment of government departments is insufficient, and the funds for census rescue and protection are seriously insufficient. Fourthly, due to the continuous deterioration of cultural and ecological environment, there are fewer and fewer participants in traditional ethnic and folk cultural projects, and there is a clear gap between inheritors and audiences. Fifth, the propaganda is not enough, and the whole society has not formed a joint force to protect intangible cultural heritage.
In this regard, I put forward some suggestions on the intangible cultural heritage of Languan Opera in Laizhou: to clarify the government responsibility and improve the protection mechanism; Secondly, with the policy of "protection first, rescue first", rescue and protect Laizhou Languan Opera; It is necessary to raise funds through multiple channels to co-ordinate the development of intangible cultural heritage industries and undertakings; Finally, we should pay attention to the cultivation and use of professional talents and strengthen the research and inheritance of the excavation, protection and inheritance of Languan Opera.
The study of the intangible cultural heritage inheritance and protection course at school has made me understand the concept and related knowledge of intangible cultural heritage and improved my attention to intangible cultural heritage. The holiday took about half a month to investigate and write a report, some of which came from Laizhou Museum.
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