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     I. Educate the artists and enhance their study.
     Within the five years from 1949 and 1954, the Province held more than 130 training classes for the artists with more than 7000 students in the traditional opera and folk art circle. In 1952 alone, 59 cities and counties opened up classes for more than 2900 artists, among whom the folk art artists (including the blind) amount to 605 people. Through study, the artists came to realize that their performance was not only for earning a living, but also for the enrichment of people's lives. They began to set the goal of serving the people and serving the proletariat reign. The training also helped the artists gain more historical knowledge and improve their percipient ability of the traditional works.
     II. Assist social movements and participate actively in various performances.
     Between 1949 and 1953, in order to celebrate the liberation of all folk art artists in the province and to assist such movements like the Land Revolution, War to Resist US Aggression and Aid Korea, and Mutual Aid and Cooperation, the artists wrote short plays themselves or adapted some traditional Ping Hua, Gu Ci and Zou Shu into the following plays of contemporary interests: Three Battles against Zhu Jia Village, The White-haired Girl, Hatred in Tear of Blood, Xiao Er Hei's Marriage. Some performed in schools while some went on tours to the countryside or mountain areas. The Hangzhou native singing-and-talking artist Wu Jianwei and Ping Hua artist Li Weiqing even went to Korea to send gratitude and appreciation personally. For their distinctive role as torchbearers in the anti-imperialism and anti-feudalism war, many were awarded the titles as advanced collectivities or advanced individuals.
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