(Year-end feature) 2020, performing arts and cultural expo "cloud", from "self-help" to the next frontier

　　China News Service, Beijing, December 30, Wire title: 2020, performing arts and cultural expo "cloud", from "self-help" to the next outlet

　　China News Agency reporter Ying Ni

　　The Beijing New Year Concert held in the Great Hall of the People on the evening of December 31st has been held for 24 sessions without interruption.

This year’s Beijing New Year’s Concert will move online. The organizer will condense and refine the most colorful movements of the previous 24 concerts into a two-hour performance.

　　This is like a microcosm of the performing arts and cultural and cultural industries throughout 2020.

　　"Self-help" in the cloud: cultural and artistic institutions hold a group for warmth

　　According to incomplete statistics, during the closing period for epidemic prevention, museums across China have launched more than 2,000 online exhibition projects and cloud education activities, and the number of visits exceeded 5 billion.

In 2019, the number of offline audiences received by museums nationwide was 1.227 billion.

　　The Palace Museum publishes the "Guide to "Traveling in the Forbidden City"", the National Museum launches "The National Museum of China invites you to watch the exhibition", and dozens of cultural and cultural institutions jointly participated in the live broadcast of the "Traveling Museum". The Potala Palace with a history of 1388 was broadcast live for the first time. It also displays the unopened areas. The total number of viewers reached 920,000 in one hour, which is more than half of the 1.5 million visitors of the cloth palace.

　　During the National Two Sessions in 2020, Liu Yuzhu, a member of the National Committee of the Chinese People's Political Consultative Conference and director of the State Administration of Cultural Heritage of China, proposed that multiple ministries and commissions should collaborate and vigorously develop the "cloud exhibition" of the museum.

Liu Yuzhu said that in the "post-epidemic" stage, the State Administration of Cultural Heritage will continue to increase the promotion of "Cloud Exhibition" and make "Cloud Exhibition" a new normal for exhibition viewing.

　　Similarly, cloud performances emerge endlessly.

The Ministry of Culture and Tourism of China has launched a variety of outstanding performances on its official website. The dance drama "The Electric Wave That Never Elapses" and the opera "Ma Xiangyang Going to the Countryside" and other operas that won the Wenhua Award can be watched online.

　　Damai linked Weibo, NetEase Cloud Music, Xiami Music, and Tencent Music to jointly launch the "Believe in the Future" online charity performance. More than 170 groups of musicians including Faye Wong, Na Ying, Yi Yang Qianxi, Wu Yifan participated in the performance, which is known as the largest in the history of Chinese music. Online charity show.

The benefit performance is based on "Fighting Anxiety and Returning to Daily Life". The format of the program is eclectic, with multiple forms of music such as pop, rock, folk, and classical.

The total number of online viewers of the four benefit performances reached 440 million.

　　TMElive held more than 40 "online concerts": Mayday, Andy Lau, Rene Liu, Eason Chan, Zhou Shen, Stefanie Sun...

　　Favorable policies: Cultivate and expand new business types such as Cloud Performing Arts and Cloud Exhibition

　　The Ministry of Culture and Tourism of China recently issued the "Opinions on Promoting the High-Quality Development of the Digital Cultural Industry", setting up special chapters to deploy innovative applications of digital technologies such as ultra-high definition, VR/AR, big data, cloud computing, and artificial intelligence in the cultural industry , To clarify the specific path for cultivating and expanding new types of business such as cloud performing arts, cloud exhibitions, digital art, and immersive experience.

The opinions focused on leading youth cultural consumption with high-quality digital cultural products, guiding the creation of products that meet the diverse and individual needs of young users, and enhancing youth national pride and cultural self-confidence.

　　In fact, during the new crown pneumonia epidemic, the digital cultural industry emerged and bucked the trend. It played an active role in epidemic prevention and control and economic and social development, demonstrated strong growth potential, and became a new driving force for the high-quality development of the cultural industry.

At present, the number of Chinese Internet users is 940 million, and the Internet penetration rate is 67%. The super-large-scale market advantage provides a broad space for the development of the digital cultural industry.

　　According to a survey launched by the China Youth Daily Social Research Center in June this year, more than 50% of the respondents expect more interactive links in online exhibitions.

The key to online exhibitions is interactive experience. Not only can audiences choose exhibits and design their own routes, but the host should also have enough knowledge to communicate with netizens during the live broadcast.

Zheng Yi, an associate professor in the Department of Cultural Relics and Museum Studies at Fudan University, pointed out that all forms should serve content and content should serve themes.

In the future, the “cloud exhibitions” of major museums may become standard, but without strong research and rich content support, online exhibitions may become monotonous graphic exhibitions, and it will be difficult to attract audiences.

　　Although online performances cannot replace offline performances, they have quietly changed the ecology of theatrical performances.

Zhu Kening, President of the China Performance Industry Association, pointed out that the performance market has fewer resources, a small structure, and an incomplete industrial chain. It is an indisputable fact. A large part of the reason is that it is limited by the distributed market model that focuses on theater performances. The unique on-site charm is also the reason that restricts the expansion of the industry.

The Internet provides an opportunity to expand the industrial chain, open up new revenue channels, and ultimately lead the performance industry from a niche to the masses.

　　"In the future, offline and online performances will be part of the overall performance market. It is a big market that has not yet been integrated but must be integrated. Creating performance projects that suit online and offline needs corresponds to different online and offline viewing habits and complementary lines. Their respective profit models online and offline." Zhu Kening said.

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