·非遗百问·
59.福建木偶戏后继人才培养计划什么时候被列入联合国教科文组织《保护非物质文化遗产优秀实践名册》？其内涵价值是什么？
答：2012年，福建木偶戏后继人才培养计划被列入联合国教科文组织《保护非物质文化遗产优秀实践名册》。
福建木偶戏是我国木偶表演艺术的杰出代表，主要演出形式为提线木偶与掌中木偶两种。自公元 10世纪开始，福建木偶戏便在泉州、漳州及周边地区广泛传播，其表演技法精湛、传统剧目和音乐唱腔丰富、偶像造型艺术精美绝伦，形成了完整的表演体系，成为当地民众喜爱的表演艺术形式。20世纪 80年代以来，随着生产生活方式的变化，加之福建木偶戏表演技法复杂，年轻人学习、传承意愿下降，福建木偶戏后继乏人。从 2006年开始，泉州相关社区、群体和代表性传承人围绕培养传承人的主要目标，制定了 2008—2020年“福建木偶戏后继人才培养计划”。培养计划的内容主要包括：立档和确认；管理与资助传承人；传统传习与正规教育相结合、演出与培训相结合；普及宣传教育；示范基地建设。该计划以加强培养木偶戏传承人为核心，积极推进木偶戏“进校园、进课堂、进社区”，发挥各类学校、社区群体的人才培养功能，建设木偶戏传习所，以老艺人带徒传艺的传统教育为龙头，以剧团带培训班的学校教育为重点，以幼儿园、小学、社区普及教育为基础，建立起由社会各界广泛参与的木偶戏后继人才立体式培养体系。通过优化文化生态环境，创新政策措施与投入机制，营造关心、支持福建木偶戏传承发展的社会氛围，使木偶戏后继人才的培养更加规范和系统，培育优秀后备人才，扩大木偶戏的受众群体。
Q59.When was Strategy for Training Coming Generations of Fujian Puppetry Practitioners selected on the Register of Good Safeguarding Practices? What is the intrinsic value?
Answer: The Strategy for Training Coming Generations of Fujian Puppetry Practitioners selected on the Register of Good Safeguarding Practices in 2012.
Fujian puppetry is one of the extraordinary representatives of Chinese puppetry performing art, consisting mainly of string and hand puppetry. Since the 10th Century AD, Puppetry in Fujian was widely spread in Quanzhou, Zhangzhou and surrounding areas, and it has developed a set of characteristic techniques of performance and crafting puppets, as well as a repertoire of plays and music. Since the 1980s, however, the number of young people learning puppetry has diminished due to socioeconomic changes transforming their lifestyles, on the one hand, and the long period of training required to master the sophisticated performing techniques, on the other. In response, since 2006, concerned communities, groups and bearers formulated the 2008—2020 Strategy for the Training of Coming Generations of Fujian Puppetry Practitioners. The key objectives are to safeguard the transmission of Fujian Puppetry and to enhance its sustainability through professional training to create a new generation of puppetry practitioners; compilation of teaching materials; setting up of performing venues, training institutes and exhibition halls; sensitization of people through non-formal and formal education; regional and international cooperation; and artistic exchange. This strategy has witnessed a wide participation of practitioners, local people and educational institutions. Efforts have also been made to optimize the cultural ecology, innovate policy and investment mechanism, and create the social environment beneficial for the inheritance and development of Fujian Puppetry, establishing a sound and organic successor training system.
中国木拱侨传统营造技艺
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