Tan Dun’s aspiration is not limited to the cultural artifact itself. In his eyes, gracing the world stage comes with another responsibility —and that is to lead the institution of the whole cultural world. “We will bring new blood to institutions, to work on education, singing, properties, dance, make-up, clothing, cultural transmission, cultural diffusion and so forth.”
For Tan Dun, one of the aspects pertaining to the musical worth learning is the management of the production crew. Instead of belonging to just one existing organization, the whole crew is made of people from all over the nation hired for their talents. “No matter where you are from, if you are excellent enough, the manager will employ you.”
Sometimes Tan goes to rural villages to mediate. “I mediate on the past and the future of Chinese, China in the world and the world in China. Then I realize that I am engaging in an interesting cause –the protection of intangible cultural heritage. This protection is dynamic. The more efforts you make, the better protected this country will be, since they are in great need of money and resources.” Tan said.
In his eyes, the galleries and museums in Zhangjiajie have a huge number of treasures. It will cost Zhangjiajie money if it wants to protect its intangible cultural relics the best way it can. But with this musical project, it will serve as a way to snowball profits, bringing financial benefits to Zhangjiajie. “After ten years, we will find the scale of intangible cultural heritage protection in Zhangjiajie totally different.”
By working on the musical, Tan Dun has made it possible for the traditional Huagu Opera and other folk cultures in Hunan to be passed down to the younger generation. His creativity has helped bridged the world with the past. His dreams, which he weaved into New Woodcutter Liu Hai, have come true.
By Wen Yi
Editor: Chen Xiaorong
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