{"id":12405,"date":"2019-11-21T05:05:33","date_gmt":"2019-11-21T05:05:33","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/dongbei-dagu-039-big-drum-recitative-039-dong-bei-da-gu\/"},"modified":"2019-11-21T05:05:33","modified_gmt":"2019-11-21T05:05:33","slug":"dongbei-dagu-039-big-drum-recitative-039-dong-bei-da-gu","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/vi\/dongbei-dagu-039-big-drum-recitative-039-dong-bei-da-gu\/","title":{"rendered":"Dongbei Dagu ('Big Drum Recitative') \u4e1c\u5317\u5927\u9f13"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
\u7c7b\u522b\uff1a\u66f2\u827a
Category: Recitative, story-telling
\u5730\u533a\uff1a\u8fbd\u5b81\uff0c\u9ed1\u9f99\u6c5f
Region: Liao<\/em>ning Province and Heilo<\/em>ngjiang Province
\u7f16\u53f7\uff1a\u2164-6
Ref. No.: V-6
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Nominating unit[s]: Shenyang City, Liao<\/em>ning Province
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Do<\/em>ngbei Dagu (‘big drum recitative’) is an art form of drum music and recitative, popular in Liao<\/em>ning Province, Jilin Province and Heilo<\/em>ngjiang Province. Since it o<\/em>nce prevailed in Shenyang City wher Fengtian Prefecture was established in the late Qing Dynasty, it was also known as Fengtian Dagu. In 1929, Fengtian Province was renamed as Liao<\/em>ning Province, and it was called Liao<\/em>ning Dagu afterwards. Do<\/em>ngbei Dagu came into being in the mid-Qing Dynasty, and it was initially performed by a singer telling or singing stories while playing the Xiaosanxian (a small three-stringed plucked instrument) and hitting an allegro made of five bamboo boards and fastened o<\/em>nto the singer’s leg. For this reason, it was also called "Xianzishu". Later, it was developed to be performed by a band co<\/em>nsisting of a Shugu and Jianban player and accompanists including Dasanxian (a big three-stringed plucked instrument) player, telling stories and singing in the Northeast China dialect.
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In early time, Do<\/em>ngbei Dagu was mainly popular in rural areas, colloquially known as Tun Dagu. Its tunes were local tunes with which local people were quite familiar and its lyrics were unsophisticated. Some artists even read the s<\/em>cript and then performed according to the s<\/em>cript during their performances, which was called "Baduo Shuoshu". Most works were medium-length arias such as Second Sister Yang Missing Her Husband (or Hui Bei Ji), Wagang Village (or Wa Gang Zhai), Choi-wan Ball (or Cai Yun Qiu), Four Talents Submitting to the Tang Imperial Court (or Si Ma Tou Tang), Legend of the White Jade Building (or Bai Yu Lou). In the late 19th century, Do<\/em>ngbei Dagu was brought into urban areas. Some short arias were sung and the lyrics of Zidishu (a type of so<\/em>ngs in the Qing Dynasty) were transplanted to this art. Famous artists included Che Debao, Men Zhenbang, Wang Desheng and Zhang Wansheng. In early 20th century, bunches of female artists started to join the performance force of Do<\/em>ngbei Dagu while male artists o<\/em>nly played the instruments for accompaniment. The famous female artists included Liu Wenxia, Jin Hudie, Yin Lianfu and Hou Liangui. Of those, Liu Wenxia had won the title of Drum Queen of Fengtian Dagu. Zhujia Troupe, led by the "Storytelling Sisters" Zhu Xizhen and Zhu Shixi, gave performances in Tianjin Province in the 1930s wher Zhu Xizhen was ho<\/em>nored to be the "Queen of Liao<\/em>ning Dagu". Fujia Troupe, led by Fu Lingge and his four daughters Fu Fengyun, Fu Cuiyun, Fu Guiyun and Fu Huiyun, introduced Do<\/em>ngbei Dagu to Beijing City.
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In the long course of its diffusion, there emerged different art schools like Feng Tone, Do<\/em>ngcheng Tone, Jiangbei School, Nancheng Tone and Xicheng Tone which came into being in the mid 20th century. All schools have been distinguished by their respective traditio<\/em>nal shows. Feng Tone, popular in Shenyang-centered areas, was sung in a slow style for expressing emotions and employed in the short arias of transplanted Zidishu such as Predestined Heartbreaking (or Lu Lei Yuan), Memories on Co<\/em>ncubine Yang (or Yi Zhen Fei). Its representative artist was Huo Shutang. Do<\/em>ngcheng Tone, popular in Jilin -centered areas, was mainly employed in shows with the theme of Romance of Three Kingdoms (or San Guo Yan Yi) and Dream of the Red Mansion (or Hong Lou Meng), and its representative artist was Ren Zhankui. Jiangbei School was popular in north So<\/em>nghua River of Harbin City and its representative artist was Liu Tongxi. Nancheng Tone was popular in Yingkou City of Liao<\/em>ning Province and its representative artist was Xu Xiangjiu. One common feature shared by Jiangbei School and Nancheng Tone was that their shows were all a<\/em>bout long stories such as Warriors of the Hu Clan (or Hu Jia Jiang) and Warriors of The Xue Clan (or Xue Jia Jiang). Xicheng Tone, popular in Jinzhou City and its around areas, was employed in heroic and stirring stories such as Luo Cheng Calls the Grate Open (or Luo Cheng Jiao Guan) and its representative artist was Chen Qingyuan.
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After the founding of the People’s Republic of China, there were many new Do<\/em>ngbei Dagu shows focusing on everyday life. Major new shows adapted from literature works included long stories such as Steel Meets Fire (or Lie Huo Jin Gang), The Red Rock (or Hong Yan) and Biography of Jie Zhen Guo (or Jie Zhen Guo), and some short arias such as Yang Jingyu Arranges Troops According to Bag-shaped Tactics (or Yang Jing Yu Da Bai Kou Dai Zhen), Norman Bethune (or Bai Qiu En), The Fishman’s Revenge (or Yu Fu Hen), Chairman Mao Came to Shisanling (or Mao Zhu Xi Lai Dao Shi San Ling) and The Wedding on the Execution Ground (or Xing Chang Shang De Hun Li).
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Do<\/em>ngbei Dagu plays an im<\/em>portant role in the leisure life of the people in its pre<\/em>valent areas. Its genres and music have had influence on other arts. For example, Memories on Co<\/em>ncubine Yang (or Yi Zhen Fei) was borrowed by many other drum music forms, and the fixed-tune melody (Qupai) "Man Xi Cheng" was absorbed by Errenzhuan (a song-and-dance duet popular in the Northeast of China). Since the late 20th century, however, many audiences have shifted their interest in Do<\/em>ngbei Dagu to other fields, and inheritance and performance have been co<\/em>nfronted with great challenges. The art is now at stake. In this situation, urgent measures are required for protecting and developing it.
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Inheritor(s):
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Xia Xiaohua
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