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Interview with Director Zheng Xiaolong ｜ Creation should tell the story of ＂people＂

The closing battle report of TV series The Story of Xingfu came one after another. After Empresses in the Palace, who has been tossed and turned for 11 years, Zheng Xiaolong brought an excellent work with both reputation and popularity.

Few directors can expand the audience to all ages like Zheng Xiaolong, so that groups of different generations can find sympathetic emotions and characters in his works. Similarly, few directors can make their works last forever, constantly adding new audiences to the original basic disc, and their works are always new, always keeping the pulse and temperature of the same rhythm with the times.

Zheng Xiaolong, born in 1953, has been directing since the early 1990s. His works in different periods, such as Peking Man in new york, Golden Wedding, Empresses in the Palace, legend of miyue, Red Sorghum, Emergency Doctor, Meritorious Service, etc., have almost covered audiences after 60, 70, 80, 90 and 00, and he is a well-deserved national director. At the same time, he is also a literary and art worker who is very concerned about how individuals survive in the changes of the times. Under the focus of the camera, they are all concrete "people", and the "play meat" filled in the drama framework is also concrete and subtle details. He always believes in a foothold. "Emotion and truth are common, and I mainly tell the story of’ people’."

01

The Story of Xingfu: Dead Water and Breaking.

The realistic TV series The Story of Xingfu, directed by Zheng Xiaolong and starring Zhao Liying and Liu Wei, has closed recently. As a long-lost rural theme work in the domestic drama market, the first broadcast of the drama set off a viewing craze. The prime-time TV live broadcast attracted the top two attention, and the online broadcast was less than an hour. The market share of the whole network drama reached the top, and the real-time broadcast market accounted for 11.46%. At the same time, because of the portrayal of realistic contradictions and the exposure of human weaknesses, it has repeatedly caused heated discussions on social platforms such as Weibo. In the whole broadcast process in The Story of Xingfu, it occupied the top spot in the lighthouse TV drama feature broadcast market for 22 consecutive days, and ranked third in the 2022 TV drama feature broadcast before closing. These steady and steady data all show the amazing national popularity of this work.

The Story of Xingfu was adapted from Chen Yuanbin’s novel The Legend of Autumn Chrysanthemum. At the beginning, Zheng Xiaolong took a fancy to this story. "It mainly tells the awakening of a woman’s self-awareness and legal awareness. Under the environment of emphasizing the rule of law, literary and artistic creation is of certain significance to the construction of the awareness of the rule of law. I think it is very good." Wanjiazhuang, as a famous star village with ten miles and eight townships, has reached a certain level in material accumulation. However, due to its inherent small-scale peasant ideology and clan consciousness, this village has become a "stagnant water" and gradually has the trend of "one word at a time". "So the theme of our story is to hope that people will pay more attention to the construction of spiritual civilization and legal civilization after the completion of material civilization construction. Because there is no progress in spiritual civilization and the rule of law, this’ rich’ will not grow. "

And the heroine’s happiness is the "breaker" of Wanjiazhuang’s stagnant water.

In the initial casting stage, Zheng Xiaolong decided to let Zhao Liying play He Happiness. "We worked together in the filming of Golden Wedding in 2006, and she played many rebellious third daughters in it. She was so stubborn. Moreover, she is born in the countryside and is no stranger to rural life and the state of farmers. "

Zheng Xiaolong believes that the character He Happiness comes with a "halo". Of course, "halo" is not an illogical protagonist halo, but "He Happiness has a basic personality, and she has a simple sense of justice, fairness and equality." As a rural woman with a low education level, she was so happy that her sister was married. She insisted on an apology and was pointed at by the villagers. However, Wanjiazhuang, whose clan consciousness is solidified, needs such a foreigner to break the deadlock. "Because she doesn’t understand the process of the village construction and the prestige of Wanshantang, the village party secretary, she just thinks that I can apologize if I am wrong, but you have to admit it if you are wrong. You have to apologize."

He Xingfu threw a bench over and smashed the head of Wan Chuanjia, the son of the village party secretary, which prevented the marriage and caused trouble. His in-laws were anxious to apologize to the village party secretary, and her husband, brother-in-law and sister-in-law were also wronged and anxious. On the other hand, Zheng Xiaolong used a series of long shots to show the attitude of He Happiness as a new wife. She changed her clothes, tied up her long hair, skillfully picked vegetables, and packed things for cooking. When her husband questioned that she was still in the mood to eat, her attitude was also obvious: the sky fell and she had to eat, and then she went to seek justice after eating.

"Maybe the audience will be more worried about saying that female stars or famous actresses can’t get down and dress up ugly, but in reality, it can’t be glamorous. You work in the countryside and your daughter-in-law is running a family. You have to be energetic, right?" Zheng Xiaolong admired Zhao Liying’s energy. "If she didn’t understand it, she couldn’t shoot it. She didn’t rely on skill, but brought her true nature in, so you will feel particularly comfortable when she performs."

Since the launch of The Story of Xingfu, many viewers’ comments and barrage have been related to "grieve" and "bring your own antihypertensive drugs when watching the drama". The initial marriage-making incidents, land disputes and compensation for land expropriation, including the protagonist’s experience from rural to urban, are all full of realistic entanglements. The material construction of Wanjiazhuang Star Village is indeed rich enough, but the popularization of rule of law awareness and spiritual civilization construction seems to be uncivilized. The main line of the story is how to build the rule of law on the basis of material construction. Happiness is the main thread of this torrent, and her personal progress and growth is also a metaphor for the follow-up of rural spiritual civilization and the rule of law. The anger of netizens, to a certain extent, is also an affirmation that the content of the series is close to real life. Zheng Xiaolong also recognized this point. "We must conform to this creative attitude of realism. Now telling rural stories is to conform to the changes and cognition in the countryside and have a life atmosphere."

At the end of the story, He Xingfu promoted the construction of ecological civilization in Wanjiazhuang, developed environmental protection tourism industry, controlled sewage treatment, broke the original clan pattern, popularized the concept of legal system, and became a new generation of rural revitalization leaders. Behind the destruction of this stagnant pool is not only Zheng Xiaolong’s thinking about the current rural spiritual civilization and legal system construction, but also his inherent sense of responsibility as a literary and art worker. "Creating this thing makes me feel that I can say something and express something that I think is meaningful." He wants to tell the story of a rural woman’s growth, and reflect the fate and struggle of thousands of ordinary people in Qian Qian. This concern and gaze on the little people has always been a humanistic feeling of Zheng Xiaolong’s social responsibility.

02

"Feminine consciousness" not only represents women.

The Story of Xingfu has been at the forefront from the beginning to the end, and the whole network urged him to get a happy divorce and start a career. In addition to the characters and plots in the play, there is also director Zheng Xiaolong who was brought to the hot search by real-time comments.

In fact, it’s not long since he was widely discussed by netizens and audiences last time-during the period when the epidemic was banned at the beginning of the year, Empresses in the Palace became a drama and background sound for many people. Since its launch 11 years ago, the ideological trend has changed, the concept has been updated, and the audience has iterated. However, the popularity and discussion of this drama have lasted for a long time. Under the "study" of the younger generation of netizens, an independent "Zhen Xue" has even been derived, which is specially used to analyze characters, plots and subtle scenes, including the production of expression packs and network hotspots.

However, in the eyes of Zheng Xiaolong, who is nearly 70 years old, these new things and fragmented interception analysis are all "distant" and he doesn’t understand them. In the 22nd year of the new century, he still maintains his own work rhythm and relatively "old-school" habits. Only when talking about creation will the chatterbox open, "What are the 100 questions? I can’t even answer it. TV plays and movies are montage art, and they are flowing pictures, not watched frame by frame. When I shoot, I will not think that this drama will have such a big impact in reality. "

From Empresses in the Palace’s "Red Sorghum" and "legend of miyue" to The Story of Xingfu, several representative works of Zheng Xiaolong are all based on the clue of women’s growth and awakening, and are completed by the whole construction of the characters, so as to criticize and convey his inner thoughts and voices. However, the growth of women, or the awakening of gender-limited consciousness, is not that he deliberately caters to the creative standards of the market. Instead of telling the story with a specific group, he chose a reference sample to tell the story of everyone in the society, age and living environment where the sample is located. "Emotion and reason are common, and I mainly tell the story of’ people’."

Empresses in the Palace stills

For example, Empresses in the Palace criticized the feudal and backward marriage system. Zheng Xiaolong said, "I discussed this matter repeatedly before filming, and I told the media that it was critical. But after it was broadcast, many people said that it was a matter of the workplace. I was so dizzy. I never thought that the workplace would be like this." He recalled that mentality more than ten years ago. "At that time, for a long time, it seemed that everyone thought the harem was beautiful and luxurious. Many girls wanted to cross into the harem and run to be concubines for the emperor." "The emperor is a big stallion, marriage in this case, how can you have a single-minded emotion? Impossible. "

The realistic theme does not mean that you must shoot modern dramas, which is also Zheng Xiaolong’s consistent thinking. "You can also shoot historical stories with a realistic attitude. The theme and your attitude are two different things." What Empresses in the Palace conveyed was his criticism of the feudal and backward marriage system, while legend of miyue is another kind of realism-historical materialism, which contains the awakening of women, the germination of the consciousness of family and country and the concept of equality. "Miyue is a concubine of Chu. She gradually developed a sense of home and country around the king of Qin, and she also had a critical awareness of the hierarchical bloodline theory and hereditary system, so she would take risks and return to Qin to pacify civil strife and lay the foundation for Qin Shihuang to unify China. Including the Qin Dynasty’s award for military merits, rather than hereditary, these are also the seeds of equality. "

"legend of miyue" stills

He doesn’t think it is necessary to convey specific ideas through specific themes, and there is no need to limit the gender or identity background of the protagonist. "In fact, people who engage in literary and artistic creation do image, and there is a saying that image is greater than thinking." Zheng Xiaolong is a person who came from the initial period of China TV series, and his attitude is still simple and plain. "After you have done your image well, many people will give it something to think about. For example, when Cao Xueqin wrote A Dream of Red Mansions, he didn’t think so much, he just truly reflected the society. Later, Comrade Mao Zedong said that A Dream of Red Mansions was a mirror of feudal society, and it became a mirror of feudal society, which was the understanding given by later generations. A lot of thinking things don’t mean that we have thought it through in the early stage of creation. We just do a good job in the image. As for the interpretation, how big the subsequent impact is, this is not something that can be thought of at the beginning. "

After being created, the female images in Zheng Xiaolong’s works began to have a lot of interpretations, some of which were even quite different from his original creative ideas, which he had never expected in his creation. However, whatever Zhen Xuan, Mi Yue or happiness, behind their awakening of female consciousness and independent consciousness is actually the awakening of human nature-an awakening of equality, struggle and the rule of law. This has nothing to do with gender, but belongs to everyone’s right consciousness. There’s a line in The Story of Xingfu, which Zheng Xiaolong especially picked out and spoke it again. "Distinguish right from wrong through law, clarify truth through law, and popularize social fairness and justice through law. I think it is very important, because we want to build a society ruled by law. This is also what I want to convey through this drama. "

As for the arguments, contradictions and conflicts intercepted by the fragments, and the remarks urging a happy divorce, they all belong to the endowed "thinking", which is the part that literary and artistic creators can’t control after the completion of their works. Zheng Xiaolong tried to digest the gap between himself and the young audience. "I think literary works still need a little nutrition, and there must be emotional things in them. If the general direction is right, you can."

03

The significance of realism

After decades of film and television drama, Zheng Xiaolong, which has become a benchmark in the industry, has maintained a stable output, but it is not a "high yield". For the production and polishing of the script, including the preparation before starting, he has to spend a lot of thought and effort to dig the details. Even at this age, the vitality of creation and strong desire for expression are still shining on him.

The Story of Xingfu finalized Zhao Liying, and it also experienced some twists and turns in the middle. Because the actor was pregnant and the script was revised, it was almost more than a year before and after. "After the script was revised, the actor also gave birth to the child and sat down for a month. This is settled."

In the era of fast food, Zheng Xiaolong’s process of polishing the script and preparing the details can be said to be very "burning money". "I have to collect ideas and make field trips. I am particularly concerned about this matter and go to see Anhui local Huizhou architecture. For example, when drilling a well, I have to ask if there was such a photo at that time. The arrangement of the wedding venue for the couple, were they like this at that time? Is the construction of rural houses like this? Moreover, I have to ask the original owner (many details), because a lot of the photos we took are real scenes, and the interior is also real scenes. I am afraid that the art will be wrong. "

At the beginning, in the interview during the broadcast of Golden Wedding, Zheng Xiaolong also mentioned the "obsession" of scene restoration. After the script was polished, it was the preparation of the group, from a food stamp to a bus, which was arranged exactly according to the set points of that era. "Realism" is the key point he has always stressed. Only when the literary image reaches a certain level can the audience’s thinking be attached. "As long as you make a good image, it will have an impact on reality. As long as you make it true and reasonable, it will have an impact on reality."

Stills of "Golden Wedding"

"Influence on reality" is the sense of social responsibility that Zheng Xiaolong’s generation of literary and art workers insisted on. When a work is filmed, it is not just for fun, but for the audience to laugh. It has to be meaningful and effective in reality. As for how long and how wide this role can be played, it is uncontrollable, but at the very least, it must have a little effect.

Even now, there are some records of old reports in the evaluation of Zheng Xiaolong by Zhihu and other platforms: "The broadcast of" Desire "triggered an unprecedented upsurge of national audiences, and actors such as Li Xuejian, Zhang Kaili and Huang Meiying also became popular throughout the country. At that time, in order to watch "Desire", people with TV sets were crowded into the station almost every day. Even the Ministry of Public Security said that thieves did not come out to commit crimes because they were waiting to watch "Desire". "

Zheng Xiaolong couldn’t help laughing when he mentioned these sensational influences. This is the pride of literary and art workers and the great affirmation of a director who has devoted his life to it.

Speaking of Empresses in the Palace’s overseas export and cultural communication, Zheng Xiaolong once again emphasized the importance of realism. "Truthfulness, telling a good story about China’s history, telling a good story about China now and telling a good story about the daily life of China people, I think this is all possible. In particular, telling the story of the daily life of ordinary people must be authentic and have universal typical significance. "

Of course, we also asked Zheng Xiaolong what he thought of the current shoddy and suspended film and television dramas. He replied very quickly, "I don’t watch it. I don’t think it looks good. I don’t watch it. I can’t watch it, and I’m not affected."

This national director, who is nearly 70 years old, just wants to tell his own story-a story about every specific "person".

Written by Gu Xiang

—　THE

Guo Shilang starred in the new drama ＂The Story in Time＂ as the teaching director.

The Story in Time is a TV series produced by Xu Dong, directed by Li Tian, starring young actors Jelly Lin and Gao Zhiting, and featured by Li Hongtao, Guo Shilang, Wang Haiyan and Bao Dazhi.

The TV series Story in Time is set in Qingdao from 1990s to early 2000. It tells the twists and turns of Chen Yiduo and Bi Laifu, who lived in the same apartment with Chen family, for 10 years, and depicts the inspirational story of a group of passionate young people who grew up and struggled in the changing times, lived up to their youth and pursued a better life.

This time, Guo Shilang’s performance as the dean in The Story of Time impressed the audience deeply. Guo Shilang’s performance as the role of "Lao Guo" in the TV series Basic Law of Genius starring Lei Jiayin, Zifeng Zhang and Zhang Xincheng has also been widely concerned and recognized by the public. Guo Shilang is even called "an actor who is good at acting" by people in the film and television circle. As an acting actor, his acting skills are both positive and negative, and it is a great appreciation for him to win this title.

It is reported that Guo Shilang has appeared in hundreds of film and television works since his debut. In 2021, the cinema film "Peacock Flying from the Outer Space" starring Guo Shilang is currently in a state of waiting to be broadcast, expecting Guo Shilang to bring more new works to the audience.

According to Li Tian, the director of the play, the script structure of Story in Time is not designed to satisfy the audience’s curiosity and set up a ups and downs plot. "The story begins with a group of children’s world, from an extremely ordinary little thing to countless seemingly unremarkable life details." Li Tian said that the reason why the background of the play was set in the 1990s was mainly because that era was a very profound period in everyone’s memory. "With the introduction of the market economy, people have ushered in a lot of changes in their lives, and with the influence of reform and opening up, many new things and thoughts have also intensively affected people’s way of thinking. It was a golden age, an era when we traced back memories. " The Story in Time is just like this, depicting this group of teenagers who grew up in the 1990s and their ordinary families. The creator hopes that through this story, two generations can resonate: "Let the post-80s and post-90s trace the growing memories, and let the post-80s and post-60s find the imprint in their minds. It is our original intention to review everyone’s stories in time through this drama."

The Story in Time is a story with a linear structure that records time. The whole play revolves around Bilaifu’s growth perspective and focuses on everyone’s responsibility and responsibility in family and society. Bi Laifu was fostered in the home of his adoptive father Chen Dadong since he was a child. He saw the dribs and drabs that the family paid for him and the pressure that the family had because of his arrival. So he resolutely gave up the college entrance examination and went to work in the factory. This seemingly naive decision has caused a storm in an ordinary family. A childish but determined decision symbolizes a boy’s determination to take responsibility and become a man. All the stories in the play are started because of this seemingly immature decision, but the protagonists in the play have also chosen different ways to realize their life ideals.

The drama takes the youth stories of a group of strugglers as the main axis, and combines the changes of the times with personal changes. Games played in childhood, snacks eaten, toys that accompanied everyone in childhood … … It will be presented in the play, "We will watch cartoons we liked as children again in our spare time, relive childhood movies and TV dramas, listen to childhood favorite songs, or go back to our alma mater to have a look … … Perhaps there are many sticking points in today’s society, and an antidote can be found in that era. " Li Tian said. Therefore, in order to fully interpret that era, the producers also made great efforts. It is reported that more than half of the filming locations in this drama are Qingdao tube-shaped buildings that are not open to the public. The long and narrow corridors connect multiple rooms in series, instantly evoking memories that belong to the 1990s. At the same time, in order to further fit the scene at that time, the costumes, make-up and props of the play also highly re-engraved that era. Feixiang brand bicycles, old cars, blue, white and red school uniforms, and early stalls at the school gate are all perfectly restored in the play.

[Look-there is a story on Friday] This is a question about choice and rights. Three women told their stories.

　　July 11, 2019 is the 30th World Population Day, with the theme of "25th anniversary of the International Conference on Population and Development: accelerating the process and fulfilling the promise", which advocates making persistent efforts on the basis of the framework of the International Conference on Population and Development and raising awareness of how the choices and opportunities of girls and women have changed since the Conference.
　　
　　Twenty-five years ago, the Third International Conference on Population and Development was held in Cairo. More than 15,000 delegates from 182 countries and regions attended the conference. The Programme of Action adopted at the end of the conference made a commitment: "To formulate a new action agenda for empowering women to ensure their full participation in the social, economic and political life of their communities at all levels."
　　
　　The pursuit of rights and choices is a continuous process. Twenty-five years ago, due to the lack of contraceptives and economic and institutional obstacles, hundreds of millions of women could not enjoy the reproductive choices brought by contraceptives, and they could not choose whether to get pregnant, when to get pregnant, how often to get pregnant and who to get pregnant. Today, women’s social status has improved, and more and more women have truly realized their reproductive choices. They pay more attention to their personality independence and become an indispensable force to promote social development.
　　
　　"I’m glad I helped so many women."

　　Tafta • Sharjah is one of the six women mentioned in the 2019 edition of the State of World Population Report. Her experience has witnessed the change of women’s rights in her country.
　　
　　Tafta • Sharjah is from Albania. When she was a teenager, she always wanted to go to university to study and become a doctor. However, due to various reasons, it did not happen. After graduating from high school, she attended a one-year course to train nursing midwives, which really changed her life track.
　　
　　After the training, Tafta was assigned to a remote village lacking medical facilities, medical personnel and medical supplies. Despite the difficult conditions, she is always full of enthusiasm for pre-natal care, delivery and baby care … … "I helped a lot of people, because many deliveries were carried out at home — — There were not so many medical centers at that time. I am very happy that I have helped so many women. "
　　
　　Tafta has two children. She bluntly said that if it weren’t for family economic reasons, she would have given birth to more. Later, when she was pregnant again, like the eastern European women of that era, she chose to have an abortion.
　　
　　The chaos in the early 1990s also had its positive side. A large number of Albanians have flooded into Italy and Greece and come into contact with new ideas and new ways of working and living. Tafta said: "We started to contact with another world and diverse perspectives. Before that, all we heard was the argument that everything outside Albania was bad."
　　
　　Now, life in Albania is improving, she said. She believes that her daughter and grandchildren will have more choices and opportunities. On the one hand, today’s contraceptives have been supplied free of charge on a large scale; On the other hand, her little daughter has become a police officer — — This fully reflects the changing of the old concept of gender equality.
　　
　　Tafta has been fighting cancer, and she is determined to watch her granddaughter grow up and stick to it. "I don’t want the tumor to take away my best things," she said. "As long as I have energy, I will try my best to help others."
　　
　　"In colleges and universities in China, I hope more students can participate in youth and healthy peer education."

　　Young people provide endless creativity for social development, but with the early sexual maturity and the delay of marriage age, young people are facing the challenges brought by severe reproductive health problems. According to a national survey released in 2010, 22.4% of people aged 15-24 in China have had sex, and more than 20% of young women who have had premarital sex have experienced unwanted pregnancy. More than 50% of young people have unmet needs for reproductive health services to varying degrees. The reproductive health of young people is becoming one of the important factors affecting the healthy development of young people in China.
　　
　　Young people are more accustomed to getting knowledge about sexual and reproductive health from friends and classmates who have similar experiences and background knowledge. In mid-2004, a national youth organization — — China youth network was founded under the initiative and organization of China Family Planning Association (CFPA). It became the first youth volunteer organization in China to carry out peer education on sexual and reproductive health for young people aged 10-24 and advocate sexual and reproductive health and rights.
　　
　　He Shanshan, a student in Tsinghua University, is one of the core members of china youth network. She has been a volunteer for five years. When she was just a volunteer for adolescent health, He Shanshan encountered many difficulties. "Sometimes when we carry out activities at school, we will encounter situations where no one participates or the school does not support it. Some college students have misconceptions about sex and reproductive health. It is also difficult to change. I was impressed once when we talked about the specific use of condoms in a university. Some students stood up and slammed the door because they didn’t understand us. "
　　
　　When talking about people’s misunderstanding of sex education, He Shanshan said: "We advocate comprehensive sex education and provide suitable sex education for children of all ages from 5 to 18. For young people, not only talk about sex, but tell them how to know their bodies and deal with intimate relationships. Gender equality is equality between men and women, and men’s rights also need to be protected. We must break the stereotype of gender. "
　　
　　Speaking of the changes in these five years, He Shanshan said: "In the past, the content of sex education was to teach girls to say ‘ No ’ Now we are more telling girls how to protect themselves and communicate with their partners if they don’t want children or get sick. Every girl should have the right to choose the size of her family and the interval between giving birth to children, rather than becoming a fertility tool. "
　　
　　Last October, as a youth representative of the IPPF Asia Region, He Shanshan went to Kuala Lumpur to attend the regional council and met Joshua from Tonga, an Oceania island country. He was the representative of the last IPPF Asia Region, and He Shanshan took the baton from him. He brought good news. In June 2018, he was awarded the "Queen Young Leader Award" by Queen Elizabeth II. When Joshua was in high school, because his friends had suffered from sexually transmitted diseases, he realized that sexual and reproductive health was affecting the healthy lives of young people in Tonga, so he began to participate in the training of comprehensive sex education. Since then, he has been doing his best until he handed over the baton to He Shanshan. There are still many global youth health volunteers with similar experiences. They have been subtly influencing everyone around them with their understanding, care and sense of responsibility.
　　
　　"We not only represent the youth and the country, we are working hard for the whole cause, and the international environment is very friendly, which has always encouraged our young people to speak out." He Shanshan said.
　　
　　"Dance of Youth and Healthy Life" gathers the power of upward growth.

　　Hu Lan (third from left) is at the event site.

　　"How do women protect themselves in the face of partner pressure? Let me tell you a story that happened around me … …” In the auditorium of a factory in Longgang District, Shenzhen, a "Dance of Youth and Healthy Life" project is going to the "story sharing" link. The narrator of the story is Xiaoxue, a volunteer of the youth health project and a working girl who came to Shenzhen from Hunan.
　　
　　The lights gradually dimmed, and the crowd gradually became quiet. Everyone’s eyes were fixed on Xiaoxue. Xiaoxue’s thoughts returned to the unforgettable experience of her best girlfriend eight years ago with soft music: in her early twenties, at the best age of her life, Xiaoxue’s girlfriend suffered an unexpected pregnancy. Her so-called boyfriend chose to escape because he was at a loss. Xiaoxue accompanied her best friend to a small clinic and had an induced abortion. Less than a year later, the same situation was staged again. Because she was afraid of the eyes of the people around her, her best friend chose to go to a small clinic with poor medical and health conditions, and repeated surgical injuries caused great harm to her body and mind, which also laid a hidden danger for Xiaoxue’s best friend’s marriage and childbearing life.
　　
　　When the story was finished, the music stopped and the scene was quiet. Xiaoxue broke the silence: "At that time, we were very young, and no one taught us about sex. We didn’t know how to protect ourselves. The fluky psychology and partner pressure when getting along with close partners all caused great harm to many women like my best friend. After listening to the story, I believe everyone should have their own answers." This is a fragment of the "Dance of Youth and Healthy Life" project entering the factory to carry out activities.
　　
　　“‘ Dance of youth and healthy life ’ It is an international youth project jointly introduced to China by the China Family Planning Association and the United Nations Population Fund. It is a youth project with music and dance as the carrier, psychological model activities as the foundation, and sexual and reproductive health as the core of knowledge to guide young people to establish positive sexual concepts and attitudes towards life. " Hu Lan, the organizer of this activity, is the deputy stationmaster of Fuchengao Community Workstation in Pinghu Street, Longgang District, Shenzhen, and she is also the trainer of the international headquarters of the "Dance of Youth and Healthy Life" project. She told CCTV reporters that she is interpreting comprehensive education in a way that young people like, affecting not only women but also men.
　　
　　A factory doctor once took Hu Lan’s hand and said, "I really hope your activities can be carried out for a long time. There are too many female workers, and they need to strengthen their awareness of self-protection." Hu Lan said that some factory leaders hope to add the content of sex and reproductive health education to the induction training of new employees. She saw that more and more people in society realized the importance of sex education.
　　
　　The activities organized by Hu Lan not only entered the community factory, but also reached the middle school students. "In the past, when talking about gender topics in physical health classes in primary and secondary schools, teachers would say: ‘ Look at these two pages for yourself ’ . Now we have the opportunity to enter the school, not only to talk about knowledge points, but also to transmit an idea, which is welcomed by students. "
　　
　　In recent years, news such as "teenage pregnancy" and "children being sexually abused" have been exposed in the media. Parents and schools generally recognize the necessity of sex education, but there are still ambiguous attitudes about the way and degree of sex education, and even take evasive actions.
　　
　　At present, Hu Lan’s community still enters primary and secondary schools with short-term and decentralized themes, such as "welcoming adolescence", "preventing sexual harassment" and "staying away from AIDS", or carries out project activities in schools that are very supportive of project activities as a whole class.
　　
　　At the same time, Hu Lan also expressed his confusion. With the adjustment of the national population policy and the shift of the focus of local government work, the grassroots youth health education team is unstable. Many social workers can no longer engage in youth health education because of job adjustment, so they can only participate in it in their spare time.
　　
　　Take the area where Hu Lan is located as an example. In 2016, there were 225 young pioneers in Pinghu Street, Longgang District, Shenzhen for rotation training, and a core youth pioneer team of 30 people was formed to carry out youth health education activities in streets with a population of about 500,000. After the institutional adjustment, 80% of the staff are currently diverted to other departments. At present, only the members of the core team of the project are relatively stable, and the data is just a microcosm of the loss of local basic youth health education personnel. Although there is a constant inflow of fresh blood, the cost of time and technology has affected the development of youth health education.
　　
　　In sharp contrast to the sharp drop in personnel, schools, enterprises and community service centers that have conducted youth health education have a rising practical need for youth health education.
　　
　　As a person who has served in the front line of the community for a long time, Hu Lan and his colleagues have seen too many real cases. They carefully prepare and carry out every activity with enthusiasm and expectation. Instead of flowery words and many grand slogans, what they have is a heart full of sincerity and social responsibility. Hu Lan said that the children’s "seeking help" when they encounter troubles, the trust of community residents and the support of teachers and leaders who care about the cause of youth health education have all given them great motivation to work. "A single spark can start a prairie fire." Hu Lan said that she would like to be that little flame, hot and strong. (Text/Feng Songyi)