The trend of “Green Code Stepping on Pneumonia” is the same, and young people become the main consumers of museum culture and innovation
Green horse “out of the circle”, museum cultural and creative “roll up”
In order to get a popular “Horse Stepping on a Flying Swallow” doll pendant on the whole network, Yang Haoyi, a young man from Gansu Province, even found a “relationship” after 00. He asked the staff of Gansu Provincial Museum to help him buy it.
“Eye contact is very important.” At the end of June this year, when he first saw the “horse stepping on a flying swallow” at the first Lanzhou Cultural and Creative Festival, Yang Haoyi was captured by the porcelain teeth of the “green horse” and its “light” action of stepping on a flying swallow. He felt that at the moment of the epidemic, he needed such a small thing that could be decompressed.
After 44 days, Yang Haoyi successfully started with “Horse Stepping on a Flying Swallow”. He hung it on his schoolbag for the first time and changed his WeChat avatar to the image of “Green Horse”. When he arrives in other cities, he will also take a group photo with the local landmark buildings with the “green horse”, and also meet the request of other tourists to take photos or “touch” the green horse.
“There is a sense of pride in bringing the national treasure home, as well as a sense of mission to recommend the national treasure and let it enter everyone’s life”, Yang Haoyi said in his heart that exposure to the “green horse” is also a reflection of cultural confidence.
With the design prototype of the national tourism symbol – the East Han Dynasty bronze galloping horse, the cultural relics are personified and interesting personality characteristics are added. The cultural and creative product “Horse Stepping on Flying Swallows” is launched by the Cultural and Creative Center of Gansu Museum, which has become the “top stream” this summer. On line, hundreds of thousands of likes and forwards are frequently made; Offline, there was a long line at the entrance of Gansu Museum just to see the “green horse”.
Coincidentally, previously, the “Chaozhu” earphones of the Beijing Palace Museum, the jade pendant shaped lollipops of the Henan Museum, the “Internet Red” ice cream of the Yin Ruins Museum, and the Sanxingdui Divine Prayer Theme Blind Box launched by the Sanxingdui Museum in Sichuan were also widely sought after and favored by tourists. The cultural creativity of the museum has become popular in the new mode and new play method. At the same time, the cultural communication of the museum has become “more fashionable and interesting”, enabling more people to enhance their cultural identity in the “cultural relics that can be taken home”.
Green horse “out of the circle” to create a museum cultural innovation sample
“The popularity of green horses is both accidental and inevitable.” Cui Youxin, the person in charge of Gansu Museum Cultural and Creative Center and the post-90s designer, told the reporter of Zhongqing Daily.
In addition to the cultural attribute and practicality, Cui Youxin and his friends have made great efforts to make the products interesting and exploratory, and launched more “magical” and “funny” products such as the Green Horse facial expression bag, the Green Horse headgear, and the Green Horse kite. Different from the vigorous and powerful side posture of the bronze galloping horse shown in the past history books and TV cameras, the bronze galloping horse first showed its “positive” face.
“As cultural and creative developers, we need to understand cultural relics in an all-round way.” Cui Youxin said that when observing the bronze galloping horse from the front, she and the boy would always be amused by its crooked mouth and bared teeth. Therefore, we decided to take the positive image of the bronze galloping horse as the design prototype. On the one hand, restore its head contour and maintain its flying posture; On the other hand, it strengthened its funny characteristics, added big fangs, and designed the flying swallow to be dull and cute, giving it a lovely and naughty character.
The homophonic stem of “Green Code Stepping on Pneumonia” and the attitude of respecting cultural relics and “revitalizing” cultural relics make “Holy Horse Comes” become the “Internet Red” product of the museum’s cultural creation. The 3D horsehead style green horse headgear took the lead in making it onto the popular microblog search list, with more than 10 million reading times. Gambo Cultural and Creative Center also took advantage of the hot iron to launch two dolls, the standing style of “One Horse Takes the Lead” and the running style of “Horse Comes to Success”.
In June, in the peak tourism season in northwest China, the first original immersive cultural and creative theme exhibition in China, “Vientiane Elegance” cultural and creative exhibition hosted by Gansu Provincial Museum, and the first cultural and creative festival in Lanzhou were also held. “Green Horse” dolls had more opportunities to show their faces, and soon captured the “hearts” of consumers.
Tiktok video, taken by a netizen at random, has won more than 400000 praises and forwarded more than 130000 people in just a few days, and Tiktok # Horse Stepping on Flying Swallows # topic has been broadcasted up to 150 million people.
The sales volume of copper galloping horse dolls has increased rapidly, ranking the first in the store. It is reported that on the day when the most orders were placed, the flagship store of Tmall in Gansu Museum sold about 7000 green horses. “The workers’ treaded on the sewing machines and made them smoke.” Cui said jokingly.
Some people directly open their brain holes for secondary creation. Tiktok user “Cherry Dad is Superman” made an animation “Green Horse” for his daughter on the computer: in the video, a huge 3D “Green Horse” stepped on the top of the skyscraper with a charming naivety.
Netizens all over the country have left messages under the video: “I saw it in Xinjiang, a green dot”, “I saw it in Beijing”, “I can see it in Xining, green light in sunny days”. The official number of Gambo is also “straight”, “I really will thank you”.
“Talk to young people with the words of young people”. After the popularity of “Green Horse”, Gansu Museum also recognized this “traffic code”. They took the lead in the whole life, danced the Divine Horse Dance, released such funny videos as “Copper Running Horse” Rap, “Divine Comedy”, “Famous Painting” series, etc., and in the “Green Horse Music”, a new member of the Green Horse family, released at the end of July this year, “Flying Swallow” was completely independent, Let netizens exclaim that “Qiao’er is going to fly alone” and “Qiao’er has finally been free for thousands of years”. After some operation, the green horse fever has continued to this day, with no difference in popularity.
“Online celebrity” cultural creativity, using modern ways to perceive tradition
Shen Mingjie, director of the Silk Road Cultural Creative Design Research Center of Lanzhou University, analyzed that the emergence of Ganbo’s “Horse Stepping on a Flying Swallow” doll is closely related to the diversity of current culture and aesthetic trends.
“Nowadays, cultural and creative products based on aesthetic trends such as’ ugly ‘,’ cute ‘,’ silly ‘and’ cheap ‘, or’ ugly and cute ‘,’ dull and cheap ‘, have become popular objects among young people. Ma Ta Flying Swallow Puppet just stepped on the point of’ ugly and cute ‘, and the seemingly’ twisted ‘expression is also called’ bring your own joy ‘by netizens. When you see this cultural and creative product in the current tense work life, you will smile with understanding, and also play a decompression role Function. ” Shen Mingjie said.
In addition, he believes that the clever use of Tiktok, Weibo and other network platforms and the secondary creation of Ma Ta Feiyan dolls by netizens have played a huge role in the popularity of this cultural and creative product.
This is related to more and more young people entering museums. The data shows that in the first half of 2022, 42% of the “post-80s” and 29% of the “post-90s” will book museums through Ctrip. Among the people searching for museums, the “post-95s” accounted for nearly 30%.
Young people have become the main consumer group of cultural and creative works in museums, and cultural and creative design needs to be close to their aesthetics. Shen Mingjie said that the “green horse” has gone out of the circle to create a new model of cultural innovation breakthrough in museums, which also brings inspiration to other cultural and creative workers. That is, it is necessary to deeply study the preferences of young people, get familiar with the current popular culture, and add elements of consumer participation and interaction in product design. In addition, attention should be paid to the use of re media in the promotion and dissemination of cultural and creative products.
Shen Mingjie, for example, said that in 2013, the “I know” tape launched by the Taipei Palace Museum was able to catch fire, which had something to do with the popularity of the Qing Palace Opera; The cultural and creative product of Suzhou Museum, Wenzhengming Wisteria Seed, is popular because it symbolizes the continuation of Jiangnan culture and the symbolic implication, as well as the interaction of thinking through the ages; The archaeological blind box of Henan Provincial Museum is sought after, which is the ingenious combination of the original cold and highly specialized archaeology and the “blind box” favored by young people. In addition, the products are popular because of the characteristics of “interaction” and “participation”.
“We should use modern language to transform traditional culture, so that modern people can perceive tradition in a modern way.” Shen Mingjie stressed that through such a modern way, we can become interested in cultural relics, and then we can go into the cultural relics themselves to understand the stories, culture and history behind the cultural relics.
The creative transformation of culture and creativity makes it closer to the life of modern people; Then, with the help of its profound connotation, culture firmly catches the eyes of young people.
The cultural and creative shop of the First National Congress of the Communist Party of China Memorial Hall in Huangpu District, Shanghai, knows this very well, and it has broken the stereotype of red venues. The cultural and creative goods here are not just propaganda and serious red souvenirs, but all kinds of products with fashionable design and practicality.
The “1921-2021” canvas bags, “Chuxin Hong” notebooks, co branded Big White Rabbit milk candy, ice cream and other products in the store are all “out of the circle” hot selling products. Although these product categories are common in various cultural and tourism venues, they are very attractive with their ingenious designs and meaningful details. For example, the canvas bag that sold very well last year was printed with the design of Shikumen and door number where a large conference site was located on the red cloth, and a white ribbon printed with the words “1921 · 2021” was attached to the bag, which not only has a great “atmosphere”, but also is very practical. The big white rabbit milk candy jointly produced with domestic time-honored brands has many small ideas in packaging and pricing: the tin candy box is a Shikumen shape; The sugar paper is printed with a two-dimensional code. You can know the story behind the building by scanning it; A box of sugar has 21 pieces in total and weighs 100 grams. It corresponds to the 100th anniversary of the founding of the Communist Party of China in 1921 to 2021. The price is 28 yuan, implying that the CPC led the people from 1921 to 1949. “After visiting the exhibition hall, coming to the cultural and creative shop is equivalent to walking into the extended space of the exhibition hall. Consumers are happy to consume scenes, buy products and take away stories, thus forming a second communication.” The person in charge said.
Museum culture and innovation “roll up” to open more “new topics”
With culture as the foundation and creativity as the soul, the museum repeatedly summarized and tested sensitivity in consumer demand, product design and market response. At one time, the museum presented a situation of a hundred schools of thought contending and a hundred flowers blooming. Accompanied by this, the economic and social benefits of domestic cultural and creative industries have achieved “double growth”.
Taking Gambo as an example, “Green Horse” alone has increased the number of fans of the official Tiktok account of Gambo Cultural and Creative Center from more than 100 to 85000; More people came to the scene to punch in. In addition, it successfully aroused everyone’s curiosity about Gansu, and helped Gansu become one of the provinces with high tourism fever this summer.
“Cultural innovation can not only feed cultural relics and museums, but also stimulate the local tourism economy.” This makes Cui Youxin very happy. She thinks it is more proud than making profits.
Based on this virtuous circle, at the national level, there are more and more policies to support and encourage museum culture and innovation.
In May 2016, the Ministry of Culture and Tourism and other departments issued Several Opinions on Promoting the Development of Cultural Creative Products in Cultural Relics Units, which clearly promoted various museums, art galleries, libraries and other cultural relics units to explore cultural resources in their collections and develop cultural creative products. In November of the same year, the State Administration of Cultural Heritage determined 92 pilot units for cultural and cultural heritage units to develop cultural and creative products, and encouraged the pilot units to explore ways to invest and establish enterprises through the museum’s intellectual property rights as a share, and engage in the development and management of cultural and creative products.
With policy endorsement, the depth and breadth of cooperation between various market entities and museums have been gradually enhanced, and the enthusiasm of practitioners has also been greatly enhanced. According to incomplete statistics, in 2020, there will be more than 124000 types of cultural and creative products developed in museums nationwide, with the actual income of more than 1.1 billion yuan.
The museum “rolled up”, forcing other cultural and creative enterprises into a new era. According to the statistics of People’s Daily Online, in 2021, the operating income of cultural and related industrial enterprises above designated size will reach 11.9 trillion yuan, an increase of 16% over the previous year, and an average increase of 8.9% over the two years.
As an “outstanding person”, museums choose to open more “new topics”. For example, the Memorial Hall of the First National Congress of the Communist Party of China has caught up with the trend of “meta universe”. In August this year, it used its own copyright to make digital cultural and creative products from the hand-painted pictures of Shudeli, Shikumen brick walls, and No. 106 Xingye Road doorplate. The price was 39.9 yuan. It was sold in a blind box. More than 12000 people made reservations within three days of pre-sale, and the actual winning ratio was 1:4.5. Consumers who buy the above products can also obtain physical products such as “One Coffee” voucher and Shudelhi notebook.
“Digital products should not only stay at the virtual level, but also be combined with cultural relics to guide the audience into a major venue and approach the red history.” A person in charge of a large cultural and creative team looks forward to it.
The Cultural and Creative Center of Gansu Provincial Museum has also started to start from the concept of “big cultural and creative”, combining different formats to do cross-border innovation. For example, in the form of cultural and creative exhibitions, let the public know about various forms of cultural and creative activities; In the interior decoration of commercial buildings, cultural elements such as the ripples of the Yellow River are used; Open a salon to let more young people feel the charm of traditional culture
These practices coincide with Shen Mingjie’s thinking on the future development direction of cultural and creative industries in recent years. He said that cultural and creative products are just one of the carriers of cultural innovation. In fact, “cultural and creative” refers to “cultural innovation” in a broader sense. Cultural and creative products are only one of the manifestations of cultural innovation. There are many places where cultural innovation can be achieved, including variety shows such as National Treasures, If National Treasures Can Speak, and the creative exhibition of Qingming River Picture 4.0 in the Forbidden City, It can also be Huayin Laoqiang Yishou, which combines rock music and folk music, and Tang Palace Banquet and The Journey of a Legendary Landscape Painting, which creatively express history and traditional art in modern dance dramas.
“Only by not sticking to the form, can the traditional culture be” alive “;” alive “is to make some symbols of the traditional culture” live “, but also” live “,” live “,” live “, and let the traditional culture be grounded and full of life.” Shen Mingjie said.
“Cold thinking” after the “museum culture and innovation craze”
It injects new vitality into the healthy development of cultural and creative industries, and helps the creative transformation and innovative development of excellent Chinese traditional culture. The museum’s cultural and creative work is in the blue ocean of “favorable weather, favorable location and harmonious people”.
“Seen from the big background, it is the enhancement of cultural consciousness and cultural self-confidence, the national top-down attention to traditional culture, the deep integration and development of culture and tourism industry, the change of museum unit functions and the rapid development of cultural undertakings.” Shen Mingjie is pleased with the current “museum culture and innovation craze”, but how to maintain the museum culture and innovation craze and achieve self transcendence in the later period is also a question he has been pondering.
In recent years, he has observed many problems in the system, talents, policies, funds and other aspects of museum culture and innovation.
The research and development of cultural and creative products requires a certain amount of capital investment, as well as complex talents who understand the design and market, and understand the industrial chain of product production. However, the current situation is that most of the national support tends to provincial museums, and the development of cultural and creative products in city and county museums is greatly limited by various factors.
“To do cultural and creative work, we need to rely on social funds and strength, but small and medium-sized museums have few audiences and well-known collections, and the cultural and creative products produced lack brands and sales, which makes it difficult to attract social capital to take risks and invest in.” Shen Mingjie said.
In addition, the implementation of policies varies from place to place, and the specific rules and provisions for encouragement need to be improved. Shen Mingjie analyzed that museums belong to public institutions, and the profits should be handed over to the superior units, and then distributed in various forms. However, the policies and methods of distribution vary from place to place, so some small museums face a “dilemma” in the development of cultural and creative products.
Shanghai Yunwen Expo Company provides digital cultural project development, cultural innovation customization, cultural art trading and other products and services for many museums in China. Chen Yulin, the president of the company, also talked about the dilemma of the development of cultural innovation industry, that is, the whole society is still relatively low in the appreciation of cultural added value of cultural innovation goods.
Chen Yulin said that in Japan, Singapore and other places, consumers are willing to pay for the cultural heritage and design of goods, but many domestic consumers do not think so. Some enterprises do not want to work hard to develop and design new products, so they copy and copy other products. The quality of the products produced is not high, the price is set low, and it is difficult for the originators to protect their rights, which also brings troubles to the high-quality development of Chinese cultural innovation.
In response to these pain points, in September 2021, the Ministry of Culture and Tourism and other eight departments jointly issued the “Several Measures to Further Promote the Development of Cultural and Creative Products in Cultural Relics Units”, encouraging pilot units to combine their own conditions, innovate development methods, and attract social forces to participate in the development of cultural and creative products; It is also clear that the incentive policy should be implemented, and the cultural and creative product development, operation and management personnel who meet the incentive conditions should be rewarded according to relevant regulations. In addition, cultural relics units are required to do a good job in the registration and management of intellectual property rights and reasonably determine the value of intellectual property rights.
At the same time, some small and medium-sized museums are also making some lightweight attempts. Wuwei Museum, which is located in the hometown of “Copper Running Horse”, has launched a series of brand activities such as four seasons mobile exhibition, youth social education, and high-quality courses on campus, while developing cultural and creative products. When children use beans to spell out the patterns on the painted pottery, use clay to make the appearance of cultural relics, and then add their own innovative designs to them, the museum is closer to daily life than ever before.
Wang Hao, reporter of China Youth Daily and China Youth Network, Wei Qimeng