{"id":12427,"date":"2019-11-22T03:14:11","date_gmt":"2019-11-22T03:14:11","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/luogushu-recitative-with-gong-and-drum-hits-luo-gu-shu\/"},"modified":"2019-11-22T03:14:11","modified_gmt":"2019-11-22T03:14:11","slug":"luogushu-recitative-with-gong-and-drum-hits-luo-gu-shu","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/mm\/luogushu-recitative-with-gong-and-drum-hits-luo-gu-shu\/","title":{"rendered":"Luogushu (Recitative with Gong and Drum Hits) \u9523\u9f13\u4e66"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
\u7c7b\u522b\uff1a\u66f2\u827a
Category: Recitative, story-telling
\u5730\u533a\uff1a\u4e0a\u6d77
Region: Shanghai Municipality
\u7f16\u53f7\uff1a\u2164-22
Ref. No.: V-22
\u7533\u62a5\u5730\u533a\u6216\u5355\u4f4d\uff1a\u4e0a\u6d77\u5e02\u5357\u6c47\u533a
Nominating unit[s]: Nanhui District, Shanghai Municipality
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Luogushu was formerly known as "Taibaoshu", wher "Taibao" was derived from an event called "Taibu"which was held by people to pray for peace in the suburban and rural areas of Shanghai. Since the performer has to beat a drum and gong by him\/herself while singing stories, Luogushu was also called "Tangluoshu" or "Shengushu" by the folk people. After the founding of People’s Republic of China, the two names mentio<\/em>ned above were combined together as one (i.e. "Luogushu"). The origin and formation period of Luogushu have yet to be further studied and verified. However, it was generally believed that this art was first developed in the outskirts of Shanghai. During the late Qing Dynasty and early Republic of China, Luogushu had been widely popular in Do<\/em>ngxiang and Xixiang areas of Shanghai, and even spread to Jiaxing and Pinghu areas of Zhejiang Province.
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"Taibu" ritual is quite similar to that of Taoism and is aimed to drive away plagues or epidemic diseases from the living beings. The ritual takes the form of story-telling and singing, including the story-telling part, chanting part, solo part and antipho<\/em>nal singing part etc. The co<\/em>ntents are ba<\/em>sed on folklores and historical stories, but they have nothing to do with religious rites and are used o<\/em>nly for pleasing God and entertaining people. As time goes by, this ritual has gradually been separated from the religious rites and developed into an independent folk art in the form of story-telling and singing.
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Luogushu is generally performed as follows: the performer sings and tells stories while beating a drum and gong by him\/herself. At the beginning, Luogushu was performed by a single person seated. However, it had gradually changed its form and been performed by two or more people standing up and telling stories by singing or even singing with actions by the end of 1950s. There had also been an increasing number of accompanying musical instruments, wher Luogushu was often accompanied by Chinese lutes, dulcimers and other stringed instruments and the main and commonly-used performance form was solo singing accompanied by a string orchestra. Due to geographical differences, the areas to which the Luogushu was spread can be divided into "East Area"(including Chuansha, Nanhui etc.) and West "Area" (including Songjiang, Jinshan etc.). Its tunes include [Jinping Tune], [Tune], etc.
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Taibaoshu flourished in Shanghai in 1930s and 1940s. The tea house "Luban Pavilion" had emerged at that time and it was built specifically for performing Taibaoshu in the Nanhui area. Since Taibaoshu had been passed down from generation to generation in Xiasha, Xiasha had actually become a "Taibao Home" for gathering together Taibaoshu artists. The artists Xu Liankui (whose nickname was "black skin") performed Taibaoshu all the way to Chenghuang Temple of Shanghai Municipality. During the Anti-Japanese War period, Taibaoshu formally entered the urban area, and the influential performers at that time include Hu Shanyan, Wang Junfa etc.
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After 1949, there were o<\/em>nly a small number of Shanghai artists who could perform Taibaoshu. In 1957, Shanghai Cultural Bureau began to rediscover Chinese folk art forms. The artist Hu Shanyan created a medium-length modern show named Da Yan Ju while the Cultural Center of Nanhui County had also made its creative efforts and prepared Rice Fragrance in Luhuadang which was a short modern show and named after "Luogushu". Since then, Taibaoshu was renamed as Luogushu and gradually came back to the amateur opera stage with a brand new look.
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The repertoire of Luogushu for the most part co<\/em>nsists of long and medium-length traditio<\/em>nal shows. It was not until 1949 did short and introductory shows with modern themes begin to play a major role in the amateur performance. Traditio<\/em>nal shows can be divided into "Small Shu" (i.e. ensemble of Wen Shu) and "Big Shu" \uff08i..e. ensemble of Wu Shu). "Small Shu", however, is in the majority, which includes Net Boat Transition, Jiu Geng Tian, Eight Beauties on Gaoqiao Bridge, Shuang Zhu Qiu, Jade Dragonfly, Pearl Tower, Legend of White Snake, Wen Wu Xiang Qiu etc, while "Big Shu" includes Heroes, Law Tung Co<\/em>nquers the North, Hu Jia Jiang, Hou Xing Tang, Seven Swords and Thirteen Swordsmen, etc. The short shows such as Mrs. Wang Cursing the Chicken and Rice Fragrance in Luhuadang, medium-length shows such as Da Yan Ju and Lin Chong Flees in the Night, and introductory shows such as Wildflowers of December and Mantis’ Marriage are typical to some extent. The co<\/em>ntents of most Luogushu shows are ba<\/em>sed on historical novels, family ethics and historical stories and have a strong local flavor and regio<\/em>nal characteristics.
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As time goes by, Luogushu has been falling out of favor. Since old artists have passed away one after another, nowadays there are o<\/em>nly 5 artists who actually can perform this art. This means Luogushu has come to a point that it could hardly survive, and hence immediate support and protection measures are required so as to prevent this art from being lost.
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Inheritor(s):
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Tan Jingde and Kang Wenying
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