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102 newly revealed architectural heritage projects aim for better protection

Pingyao Ancient City, a UNESCO World Cultural Heritage in Northwest China’s Shanxi Province Photo: VCG

A total of 102 architectural heritage projects have been included in the 9th Batch of China’s 20th Century Architectural Heritage Projects for the better protection of the heritage in Chinese architecture in the 20th century. Experts said China has transitioned from “cultural relic protection” to “cultural heritage protection,” and this awareness will provide new possibilities for urban development and cultural preservation, according to the report of China News on Sunday.

The list of projects in the 9th batch of China’s 20th century architectural heritage is revealed at the “Public Vision of 20th Century Heritage – Introduction of the 9th Batch of China’s 20th Century Architectural Heritage Projects and Seminar” held in Tianjin on Saturday, which included Tianjin Ancient Culture Street, the people’s congress hall in Ningbo, East China’s Zhejiang Province, Jiangxi Provincial Art Museum in East China’s Jiangxi Province among others, China News reported.

An academic highlight of the event was the release of the China 20th Century Architectural Heritage Annual Report (2014-24) blue book.

According to reports, the significance and value of the blue book publication lie in summarizing the development process of China’s 20th century architectural heritage over the past decade, praising the achievements of China’s 20th century architectural heritage over the past decade, and proposing the future development vision of China’s 20th century architectural heritage.

Industry insiders delivered keynote speeches, examining the concept of 20th-century architectural heritage from different perspectives. They also provided attendees with a new perspective on the activation and utilization of architectural heritage from an international standpoint. Other participating experts shared their design experiences, insights, and feelings in heritage preservation and development.

Shan Jixiang, chairman of the China Cultural Relics Academy and director of the Academic Committee of the Palace Museum, said that “activation” is the focus of the protection of these buildings. “20th century architectural heritage is not ‘frozen,’ but changes with the times. A historical building or zone must be given today’s functions, used correctly, and utilized reasonably.”

“Compared with traditional wooden ancient buildings, industrial heritage has a wider range of uses.” Taking Beijing’s Shougang Park as an example, Shan introduced the importance of “activation.”

“Shougang Park used to be a steel production base, but has now become an industrial heritage park after ceasing production. Many large-scale cultural, tourism, and sports activities are taking place in Shougang Park, and its functions are constantly expanding,” Shan said.

He added that protecting 20th-century architectural heritage is not just the task of the government or cultural departments but the responsibility of all people.

Only when the general public understands the value of these heritage sites and their significance for future generations will they be carefully preserved, gain “dignity,” and become a positive force for economic and social development, benefiting the daily and cultural lives of more people.

Regarding the current situation of the protection of Chinese cultural heritage, Shan told the Global Times that China has transitioned from “cultural relic protection” to “cultural heritage protection”; from only protecting ancient cultural relics to protecting contemporary and 20th-century cultural heritage; and from only protecting “a bridge or a tower” to protecting corridors for commodity trade and cultural exchange.

“The activation of buildings” not only continues the value of historical heritage but also provides new possibilities for urban development.

“The 20th century architectural heritage builds a bridge between the past and the future. We should balance the relationship between protection and activation, paving the way for future urban construction and cultural preservation,” Shan said.

Global guests share ideas about Sora and AI onslaught at 14th BJIFF

Artists on stage at the opening ceremony of the 14th Beijing International Film Festival in Beijing’s Huairou district on April 18 Photo: Li Hao/GT

The 14th Beijing International Film Festival (BJIFF) is underway. Buzzing with excitement and filled with diverse discussions, the festival has attracted a large cross-section of international filmmakers. Chinese moviegoers are flocking to the festival, eager to catch the screenings of their favorite films.

Qianqian (pseudonym), a movie enthusiast, told the Global Times that she has grabbed about 10 film tickets for various screenings. However, she lamented missing out on the 4K-restored version of
Peony Pavilion and US independent crime film
Pulp Fiction.

The top three fastest-selling films at the BJIFF, according to the committee, were Chinese films
May, the 4K-restored version of
Peony Pavilion, and
Like Winds, Like Weeds.

Tickets for foreign language films such as Japanese animated film
Perfect Blue,
Pulp Fiction, and dark comedy film
Dr. Strangelove were also snatched within seconds.

With over 200 activities planned, the BJIFF offers a colorful array of cultural activities, providing film enthusiasts with an enriching and entertaining experience.

Going global and IP innovative

BJIFF this year initially launched events such as the BJIFF International Lounge and Film Season for Diplomats, providing a platform for Chinese and foreign guests to discuss the paths for Chinese films to further go global. Participants emphasized the need for strategic support and meticulous planning to unlock the full potential of Chinese films on the international stage.

William Feng, Vice President of Asia Pacific, Motion Picture Association in the US, highlighted the interest of North American audiences in Chinese culture, citing the success of films like
Crouching Tiger, Hidden Dragon,
Hero, and
House of Flying Daggers. However, he noted a slight decline in interest, possibly due to viewer fatigue in certain kung fu genre.

He also suggested that Chinese films collaborate with streaming platforms for distribution. “Chinese film distribution should not be limited to theatrical distribution, as the user base of online platforms such as Netflix and Disney+ is very large. These online platform channels are excellent opportunities.”

Quentin Bohanna, International Sales Executive at Mk2 Films, emphasized the importance of international promotion for Chinese art films, particularly targeting markets like the US. He suggested strategies such as limited screenings followed by expansion based on audience response.

China has produced a lot of blockbusters in recent years, and related cultural products, as was the case with
The Wandering Earth II which also achieved remarkable success.

At a forum on international movie IP authority and franchise development, experts stated that in the category of derivative products, the key category segmentation model is adopted to accurately match the audience portraits of different popular IPs with market demand, accurately creating derivative products that meet audience needs, which can achieve both high-level collection and practical utilitarianism.

Ni Yuehong, former vice president of the Beijing Film Academy, told the Global Times that we also need to strengthen industrial cooperation, integrate advantageous resources, jointly promote the deep integration of the film derivative industry with the cultural and tourism industries, and create more influential cultural IPs.

Technological elements

The impact of AI on the global film and television industry has always been a hot topic.

Oscar-winning Australian sound editor David White told the Global Times that he holds an open and inclusive attitude and believes that current technology cannot threaten high-level Hollywood film production.

However, copyright issues involved in training models have always been controversial, and he hopes that regulations will be proposed by government bodies rather than private institutions in the future.

Hong Kong director Derek Tsang told the Global Times that AI would be a great help for filmmakers with low budgets and limited resources. However, he has also observed some new screenwriters using AI to write, which he considers to be a negative phenomenon as he firmly believes that human emotions and stories should come from humans, and emotions are something that AI cannot replace.

He stated that he would use AI as a tool for basic work but would invest his true emotions and feelings in the creation of scripts.

To incorporate technological elements into this year’s BJIFF, the 14th BJIFF also opened a panorama in the screen and technology section at the China Science and Technology Museum.

According to the committee, a total of 33 special effects films from 14 countries, including China, Russia, the US, and the UK were screened, along with 14 public welfare screenings of popular science documentaries, films highlighting the spirit of scientists, and short science fiction films, including popular Chinese science film
Seek Out Natural Mysteries. Director Wang Jie, who directed the film, told the Global Times that he hopes such events would inspire more people to engage with science and technology through cinema.

Cross-Straits exchange

During the 14th BJIFF ReelFocus Fresh Blood Short Film Program, Peggy Chiao, Jury President of the program and a film producer and professor from the island of Taiwan, expressed that she saw many young filmmakers with potential in this event.

She emphasized the shared cultural heritage between the Chinese mainland and the island of Taiwan, and called for increased collaboration to promote mutual understanding and unity.

Chiao told the Global Times that coming to the mainland is like coming home because her parents moved from the Chinese mainland to the island of Taiwan. She added that this emotional connection is very special to her. As a filmmaker, she uses films to know the story of her father’s generation.

Chiao expressed that the cultural roots of both sides of the Straits are the same, and cultural exchanges truly help deepen mutual recognition among people and foster a sense of true kinship.

Guests on stage at the opening ceremony of the 14th Beijing International Film Festival in Beijing’s Huairou district on April 18 Photo: Li Hao/GT

Experience Sanyuesan in Nanning

Zhuang people play the drums to celebrate the Sanyuesan Festival in Nanning, uangxi, on Thursday. Photos: VCG

The Zhuang People’s Sanyuesan Festival, falling on the third day of March of the lunar calendar, also known as “Sam Nyied Sam” in the Zhuang language, is one of the most important traditional festivals celebrated by the Zhuang ethnic group, primarily in the Guangxi Zhuang Autonomous Region in South China. This is a time rich in cultural significance, festivity, and sense of community, showcasing the unique traditions and identity of the Zhuang people, China’s largest minority group.

A series of cultural activities, such as folk song performances and displays of special intangible cultural heritage, was held in Nanning, the capital city of Guangxi. According to various domestic airlines, many visitors from Association of Southeast Asian Nations (ASEAN) members have secured their flight reservations to Guangxi for Sanyuesan Festival. Currently, the most popular route between Guangxi and ASEAN is the Nanning-Bangkok flight, reported BBRTV, a media outlet based in Guangxi.

Grand festival

The origins of Sanyuesan Festival are deeply rooted in the Zhuang people’s history, mythology, and agricultural practices. While specific stories about the festival’s beginnings vary, many relate to themes of love, heroism, and the veneration of nature and ancestors. One popular legend tells of a tragic love story that ended with the lovers turning into butterflies, symbolizing eternal love and the renewal of life.

This annual celebration is a time for the Zhuang people to honor their ancestors, celebrate their ethnic identity, and welcome the spring. It’s also an opportunity to pray for good weather, a bountiful harvest, and the overall well-being for the community.

In recent years, the festival has also become a tourist attraction, with people from other parts of China and the world coming to experience Zhuang culture. The local government and cultural organizations often organize large-scale events, including cultural performances, traditional sports, and exhibitions of Zhuang handicrafts, to promote cultural heritage preservation and intercultural exchange.

Singing is a vital part of Zhuang culture, and song fairs are held where people engage in “Antiphonal Singing” (duet singing contests) to express love and friendship. These singing performances are not just musical contests but also social gatherings where young people can meet.

Even today, when you wander around in local parks in Nanning, you can hear many residents sing beautifully using portable karaoke sets.

When you visit Nanning for Sanyuesan, you will be able to see and maybe even experience the time-honored traditions passed down from generation to generation by the Zhuang people.

People participate in rituals to worship their ancestors and the gods of nature, often in sacred places such as ancient woods or atop mountains. The Lusheng, a traditional reed-pipe instrument, accompanies dances and celebrations, adding to the festival’s vibrant atmosphere. Participants often wear traditional Zhuang clothing, featuring bright colors and intricate embroidery, symbolizing cultural pride and heritage.

Sanyuesan Festival is not just a testament to the enduring spirit and traditions of the Zhuang people but also an important reminder of the richness and diversity of China’s ethnic cultures.

More surprises

Guangxi is the autonomous region with the largest population of ethnic minorities in China, which accounts for 37.6 percent of the region’s total permanent population. The Chinese nation is closely united and all ethnic groups are members of the nation.

If you want to explore the rich and diverse ethnic cultures of China, there’s no better place to visit than thethe Anthropology Museum of Guangxi located in Nanning.

The museum is a premier institution dedicated to the preservation, research, display, and promotion of the tangible and intangible heritage of the region’s diverse ethnic communities. With a built-up space of 30,000 square meters, the museum stands as a witness to the rich cultural mosaic of Guangxi.

The museum’s main building draws architectural inspiration from the iconic Guangxi bronze drum, symbolizing the region’s rich geographical and ethnic heritage. Its design, resembling a roc spreading its wings, houses state-of-the-art facilities including a movie hall, multi-functional hall, heritage specimen observation room, specialized libraries, a virtual museum, and a room for social collections.

Visitors to the museum can immerse themselves in the Colorful Guangxi exhibition and the Culture of Bronze-drum exhibition, which highlight the unique local architecture, clothing, and wooden artifacts of Guangxi. These exhibitions offer valuable insights into the customs, origins, and evolution of the bronze-drum culture among Guangxi’s ethnic minorities. The gorgeous garments exhibition presents the stunning attire of different ethnic groups, highlighting the vibrant charm of Guangxi’s ethnic cultures and arts.

This museum not only serves as a cultural hub for learning about Guangxi’s diverse ethnic groups but also plays a crucial role in promoting intercultural understanding and appreciation. Whether you’re interested in traditional artifacts, ethnic arts, or the vibrant culture of Guangxi, the Guangxi Museum of Nationalities offers a rich and immersive experience.