The contradiction between supply and demand: the difficulty in the Construction of Rural Public Culture

The construction of rural public culture is an important part of the construction of rural governance system, which lags far behind the economic development of cities and rural areas, and is incompatible with the overall promotion of rural social governance. among them, the contradiction and dislocation between the supply and demand of public culture is a major difficulty.

I. "supply falls short of demand" and "supply does not meet demand"

Culture aims at "transforming people", and the supply of public culture must be based on the needs of human development. At present, farmers' demand for the supply of public culture shows not only the increase of "quantity", but also the increase of "quality", and presents the contradiction between "supply falls short of demand" and "supply is not suitable for demand".

1. Supply falls short of demand. Restricted by human, financial, material and other conditions, there are great differences in the supply of public culture between urban and rural areas. Amateur literary and artistic activities are carried out frequently in densely populated market towns, and the enthusiasm of the masses to carry out activities is relatively high, but in the broader rural areas, the cultural foundation is weak, the lack of cultural service team, the sharing of cultural resources and cultural activities all lag behind cities and towns. In particular, the allocation of cultural facilities is even more thin, the construction of township cultural stations and village cultural rooms is weak, and farmers are very lack of audio, musical instruments, clothing and so on.

2. Supply is not suitable for demand. Nowadays, rural areas generally bid farewell to the era of material scarcity, and people move from making a living to a happy life, and the demand for wealth, knowledge, beauty, happiness and health is increasing. therefore, the demand for the supply of public culture shows the characteristics of autonomy, heterogeneity, diversity, variability and so on. However, at present, there is still a certain gap between the rigid supply of public cultural products and the actual demand of the masses, which is not enough to satisfy the appetite of the common people. The public cultural products under the guidance of "elite cultural taste" do not fully meet the needs of the masses, and there is often the phenomenon of "spring and snow, high and low".

II. The causes of the contradiction between supply and demand of rural public culture

1. Local finance is tight and it is difficult to guarantee funds. The economy of rural areas lags behind, and the financial revenue is not well-off. Although cultural expenses have increased rapidly in recent years, compared with the growing cultural needs of the people, the investment is still insufficient, which restricts the development of public cultural services.

2. The foundation of cultural service team is weak, and the mechanism of talent introduction, training and incentive is rigid. The system of public cultural services in counties, townships and villages is broken, there is a general lack of cultural specialists in each village, and the cultural departments at the county level lack the support of subordinate management departments and are in a state of "hanging in the air". Under the existing institutional mechanism, the staffing is fixed and the salary of cultural workers is relatively low. Lack of opportunities for further study, slow improvement of business knowledge and skills, it is difficult to keep up with the requirements of cultural development. Lack of corresponding rewards and punishments and incentive mechanisms, do a good job or bad, the service enthusiasm of practitioners is generally not high, which can not ensure the stability and innovation of the supply quality of public cultural goods.

3. The expression channel of public cultural needs is not smooth, and there is a lack of "mass yardstick". The current "top-down" supply mode ignores the analysis of people's demand for and satisfaction with public cultural products, and ordinary people are often passive receivers. After the government supplied public cultural products, it did not follow up the mass satisfaction evaluation on the quantity, quality and type of public cultural products, and farmers lacked suitable channels to feedback their views. It is difficult for the government to analyze the unreasonable factors in the supply and correct the deviation.

4. the unitary dominance of the main body of the supply of public cultural products. At present, the government is still the main provider and manager of the supply of public cultural products, from regional allocation to the content and types of specific products are uniformly planned and unilaterally determined by the government, and the main body, mode and channel of supply are relatively fixed. This "top-down" authoritative supply mode not only hinders the richness, popularity and pertinence of rural public cultural products, but also is not conducive to the development and development of other supply subjects and supply channels. at the same time, the rigid allocation of resources also aggravates the idle and waste of limited cultural resources.

III. Countermeasures and suggestions

1. Strengthen the investigation of supply and demand and allocate cultural facilities and services according to the needs of the masses. The supply of public cultural products should take full account of the "standards" in the minds of the masses. Government departments should strengthen investigation and research, fully understand the actual cultural needs, preferences and information feedback of the masses through visits, questionnaires, online public opinion surveys, expert discussions, and other forms, and on this basis, formulate correct supply decisions and establish a "bottom-up" supply mechanism.

2. Guarantee funds, increase investment, and establish a diversified fund-raising mechanism. This expense should be included in the government's annual financial revenue and expenditure plan, set up a special account, and ensure that the funds are used on the cutting edge. It is necessary to increase certain funds for mobility and incentives, and use economic leverage to arouse the enthusiasm of practitioners. It is necessary to tilt funds to the grass-roots level, increase the funding for cultural facilities and activities in township cultural stations and administrative villages, and support grass-roots literary and art teams. It is necessary to attract investment participation of social funds and open up diversified investment channels.

3. Gather talents and strengthen the construction of public cultural work team. It is necessary to change the rigid employment mechanism, not stick to one style in talent recruitment and training, vigorously recruit professionals with certain academic qualifications, and recruit local folk talents specially. It is necessary to strengthen the strength of township cultural stations, equip them with professionals, and change the awkward situation that township cultural stations are "out of reach of the sky and inaccessible below." Under the circumstances that the current employment mechanism system is difficult to change for the time being, it is necessary to carry out targeted, in-depth and lasting professional and regular training for existing practitioners.

4. Lead the countryside by the city and bring the noodles by the point. It is necessary to strengthen the tilt and support for public cultural services in remote mountainous areas and implement them step by step. We should use cities and towns to drive rural areas, folk villages to drive ordinary villages, and literary and artistic backbones to drive the masses. Market towns and folk villages with great demand for public cultural activities, high enthusiasm and strong cultural atmosphere should continue to increase support and investment, and drive the surrounding villages and masses through these typical villages and communities.

5. Strengthen the development of cultural industry based on national cultural resources. It is necessary to tap the local national cultural resources, support the national cultural industry, create high-quality cultural works, and form a public cultural product system with rich content and distinctive national characteristics. Where possible, combine local cultural resources to create fist cultural products of "one village, one product" or "one village, one product". It is necessary to tap folk artists and cultural talents, set up permanent and amateur literary and art groups, fully mobilize their enthusiasm to spread, help, and lead more local farmers to participate in the construction of public cultural services.