pandemic, all industries are waiting.
But the biggest influence is the entertainment industry. According to
data, the performance market size in 2022 will be less than 30 billion, which is nearly half of the pre-epidemic 2019.
Behind this is the difficult survival of 400,000 practitioners. Statistics show that by the end of 2020, there were 434,900 art performance practitioners nationwide. Without the bloom and income on the stage, they had to face dissolution and transformation. The
epidemic that has lasted for nearly three years has suddenly slowed down the entire entertainment industry. China Performance Industry Association revealed in March this year that 9,000 performances nationwide were cancelled, and more than 10,000 registered performing arts organizations and groups were dissolved, accounting for more than one-third of the entire industry. Whether
stick to it or change careers, this is a question of survival.
01.
At the end of April this year, the famous Tao body performance plan and Yang Liping 's " Yunnan Image " team announced their disbandment. Yang Liping, who once created the phenomenon-level work "Image of Yunnan", has suffered losses for three consecutive years, and has reached the point of selling houses to survive, which makes people sigh with embarrassment. Tao Ye, founder of
Tao Body Project, asked a tearful question in an interview: Do audiences in this era still need pure artistic creation? Under the epidemic, do people no longer need art?
3 months later, Guangzhou Song and Dance Theater 's " Awakening Lion " gave the answer. On July 15th, a performance team of 88 people drove from Guangzhou to Chengdu, preparing to perform a two-day performance at the Sichuan Grand Theater . The stage was set up, the seats left, everything was ready, and we were waiting for the evening performance, but before the opening drum beat, the epidemic broke out suddenly.
Liu Chuan, head of the Sichuan Grand Theater, looked at the awkward and silent stage and felt very uncomfortable. He discussed with Shi Qianjin, the chief director of "Awakening Lion", whether the performance could be moved to live online. After a brief discussion and communication,
did what they said, immediately contacted the live broadcast platform, and re-arranged according to the requirements of the live broadcast. They made a simple poster and sent it out through the official WeChat account of the Sichuan Theater. The ticket price for the cloud performance was set at 1 yuan. . At first,
was worried that no one would watch the performance through the live broadcast. Who would have expected that the performance of 1 yuan would quickly blow up the circle of friends of Chengdu people, attracting more than 3 million netizens to watch it online in just 48 hours.
went from offline to online, with 3 million tickets, far exceeding expectations. The successful cloud performance of
's "Awakening Lion" is enough to answer the question of edification. The audience needs art, and art also needs the audience, but the unpredictable epidemic that straddles it forcibly isolates the audience from the art. Whether
accepts it or not, the epidemic has existed for three years and has profoundly changed the basic logic of social operation. Complaining and waiting are meaningless.
can only achieve self-rescue by facing difficulties and adapting to changes.
02.
Teams like Tao Body and Yang Liping are struggling to survive, not to mention the more niche folk music performance groups? Under the epidemic, who will listen to the erhu played by them alone?
Beijing's Shanshui Folk Music Troupe is facing such an embarrassing situation. Different from other orchestras, this orchestra is the only full-time national instrumental and vocal art troupe composed of disabled people in China, and has also participated in large-scale performances such as the 2008 Paralympic Games and the Beijing Winter Paralympic Games.
(early orchestra rehearsal)
This good momentum of steaming up came to an abrupt end in the spring of 2020, and the new crown epidemic that came to the fore put Shanshui Orchestra in deep crisis. Other orchestras can also change careers, but for these disabled musicians, performance is their only survival.
At that time, the entire orchestra didn't have a single performance, the members' salaries could not be paid, the social security could not be paid, and even the rent and water and electricity were not available. Everyone panicked. Since
could not see any hope, some people left one after another, and finally there were only 7 full-time actors left in the orchestra.
suffers from congenital muscleThe shrinking erhu player Wang Zhao is an old team member of the orchestra. He expressed his position to Liu Jidong, the head of the orchestra: "Brother Dong, if you insist to the end, I will follow you to the end."
Actually, Liu Jidong doesn't know where the next direction is. What should he do in the end, he planned for the worst, that is, sell the house in his hometown, and he can support it day by day.
The mountains are poor and there is no way, there is another village. When was desperate, Zhong Huile, the deputy head of the group, first tried Douyin live broadcast. During the epidemic, he used his account to broadcast the zither and flute live, and he could earn 30 to 50 yuan a day as a reward.
Although thirty or fifty dollars is not much, it is also money and income. For disabled artists who have fallen into desperation, they have caught a life-saving straw. They plan to walk into the live broadcast room to show their talents, as long as they can Let them go on, it doesn't matter how many people there are in front of the camera.
(screenshot of the orchestra's first live broadcast)
In late April 2020, Shanshui Orchestra officially embarked on the road of live broadcast. During the first live broadcast, Liu Jidong, the head of the group, was very nervous and suddenly did not know what to say when facing the camera. After live broadcasts one after another, they and the audience gradually became familiar with each other, and the frequency of live broadcasts continued to increase until it exceeded the frequency of offline performances during the peak period in 2019.
insisted on the live broadcast for two months, and the orchestra miraculously resurrected. Every night at 8 o'clock, the members appeared in front of the screen with musical instruments such as erhu, pipa , Zhongruan , flute , drums, etc. In addition to playing classic folk music, they will also play new popular songs on demand by netizens. After everyone broadcasts the live broadcast together, everyone will go back to their room and play it separately.
In 2021, Shanshui Orchestra will broadcast more than 180 live shows, with tens of thousands of viewers in almost every show. The folk music adaptation "Waiting for a Thousand Years" has received more than 900,000 likes.
now has 676,000 fans of the Shanshui Orchestra. The live broadcast rewards ensure that the members of the orchestra can obtain a stable and considerable source of income. The monthly income is 7,000 or 8,000, and in good times, it can exceed 10,000, which not only allows them to bloom their musical talents, but also finds a source of income. A new opportunity under the epidemic.
looked back on the road to nirvana three years after the epidemic. The head of the group, Liu Jidong, said with emotion, "If there is no live broadcast, maybe our band really does not exist, because no one can last for three years. Everyone has to survive and live."
03 .
Like Shanshui Orchestra, there are many cases of returning from the dead through live broadcasts.
is like Peixian Suona Village, Suona Cao Jiaban, Dongcang Drum Music... Through live broadcasts, they have regained their artistic life again, not only survived, but also lived well.
And these successful cases are also inspiring practitioners who are struggling to find a new way out. Chen Yu, an actor in a private theatre troupe, had to face the predicament of life alone as soon as the epidemic came. She tried "flexible employment" in other ways, but in 2020, her income was less than 50,000 yuan.
In April 2021, she set up her mobile phone and started her first online live broadcast. In the third month of the live broadcast, her tipping income has exceeded 10,000, far exceeding her previous income from flexible employment.
(screenshot of Chen Yu's live broadcast)
As a niche among the niche, Hu Xuefei plays the very unpopular Konghou . But the epidemic made her lose more performance opportunities, and the successful live broadcast of other artists also made her enter the live broadcast room and become a folk music anchor.
didn't even think of herself that there are so many young people who like folk music. In just a few months, her fans have exceeded 720,000, and the income from live broadcasts is enough to support her own Konghou studio.
This made Hu Xuefei very emotional. Although she still misses the offline performance scene, she now prefers the free blooming of the online live broadcast room.
In fact, there are more and more high-quality and high-level folk music performances like Hu Xuefei. These previously niche folk music performers found more and more bosom friends in the live broadcast room, created the second stage of online live broadcast, and opened a new era of art live broadcast tickets.
Previously, performance groups had to obtain performance income by selling tickets. This approach is limited by time and economic constraints, keeping many people out.
and through the online live broadcast, the distance with ordinary people was shortened at once. In other words, live streaming online, because the threshold is lower, the time is more free, and the audience is more willing to pay for excellent art performances. And these rewards are the new tickets for the live broadcast era.
takes Douyin as an example. In 2022, there will be more than 1.78 million live broadcasts of folk music, with a cumulative live broadcast time of 2.33 million hours, and more than 6.1 billion viewers. 87% of folk music anchors will receive reward income, such as xun, solo qin , Konghou and other niche musical instruments have also recorded tens of thousands of "box office" revenue.
has not only gained stable income, but also achieved self-help for the industry in the post-epidemic era, and unexpectedly played the role of amplifier , which has improved cultural consumption. Let traditional culture have a place in the new media form.
04.
For most of the art practitioners who choose to live broadcast, perhaps a reward will not make them rich quickly, but it undoubtedly provides more possibilities for them to stick to it.
Meanwhile, the "cloud stage" is closer to ordinary people than at any time in history. When 3 million people paid for "Wake Up Lion" online, when millions of people liked the wonderful performance of the Disabled Chinese Orchestra, and when tens of thousands of people watched the traditional suona performance, it means that a new Internet cultural revolution is coming.
In the past three years, folk artists have saved themselves and survived, using their nirvana and resistance to show their tenacious artistic vitality, and also provide us with valuable thinking and reference in the post-epidemic era.
is the first. In the post-epidemic era, we must seek innovation and change.
No matter if you are covered in bruises or fall into the abyss, don't have any illusions about the reality and the future, no one knows what will happen in the future, what it will look like, and waiting will not solve any problems, only by adapting to all changes to create opportunities to win , Survive by fighting to survive, in order to survive the present and live a wonderful life.
Second, live streaming technology provides possibilities for countless people. No matter how beautiful pearls and jade are not seen, they are like brooms. For folk artists, only feelings are not enough. Their luck lies in the help of new media, they can be seen, discovered and recognized, so as to let their artistic talents Recognized by more people, and earn new "ticket" income through live streaming. This is the case in the arts, but also in other industries.
Third, traditional culture needs more forms of output.
The art form represented by folk music seems to be a niche, but it can gather a considerable audience on the Internet, which shows that the revival of traditional culture must keep pace with the times and empower innovation. The new road is an unexpected harvest forced by the epidemic of the century.
A country is not truly prosperous without cultural prosperity. Therefore, let more audiences appreciate our brilliant national culture and art in a simpler form, and give respect to art performers in the form of new tickets. This is the best two-way running in the Internet age.
does not have any difficulties and anxiety, art can't cure, if you can't appreciate it offline, you can go online.
Even if the epidemic is not over, we can still come forward, and our ideas will change!
Thanks to this era, everyone can have a blooming stage.
There are cracks in everything, that's where the light comes in.
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