Culture
The culture of Xi'an descends from one of the world's earliest civilizations. The Guanzhong Ren (关中人/關中人) culture is considered the cultural antecedent of Xi'anese; their features are satirized as the "Ten Strangenesses of Guanzhong Ren" (关中十大怪/關中十大怪). Xi'an is also known for the "Eight Great Sights of Chang'an" (长安八景/長安八景), a collection of scenic areas in the region.
Qinqiang (Voice of Qin) is the oldest and most extensive of the four major types of Chinese opera. Also called "random pluck" (乱弹), Qinqiang is the main type of drama in Shaanxi province. As the earliest ancestor of Beijing Opera, Yu Opera, Chuan Opera and Hebei Opera, Qinqiang has developed its own system of unique vocal music, spoken parts, facial makeup, posture, role, category and acting. It can be traced to Xi Qinqiang (西秦腔, Voice of West Qin) in Qin Dynasty, and blossomed until Qing Dynasty, with direct influences on many branches of Chinese Opera.
The Tang Dynasty Music and Dance show presents ancient music and dance.
Much like Beijing 798 and Shanghai 1933, Xi'an has an art district called Textile town (纺织城). The district is not an actual town but derives its name from the many textile factories built there since the 1950s. Today it is no longer a centre for the textile industry but a new art factory with 4 workshops in total. Since March 2007, more than 40 artists have taken a part in these workshops.
Xi'an is home to contemporary Chinese Stars such as Xu Wei, Zhang Chu, Zheng Jun.
Zhang Yimou and Gu Changwei are directors from Xi'an. Xi'an is also the only city in China to win the Golden Bear (Berlin Film Festival) twice. The first film is Red Sorghum and the second one is Tuya's Marriage. They are produced by Xi'an Filmmaking Factory (now called Xi'an Qujiang Filmmaking Group) and Xi'an Filmmaking company respectively.
Read more about this topic: Xi'an
Famous quotes containing the word culture:
“Our culture is ill-equipped to assert the bourgeois values which would be the salvation of the under-class, because we have lost those values ourselves.”
—Norman Podhoretz (b. 1930)
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