What are the performance forms of Fushun rice-planting song?

Abstract: Fushun Earth Rice-planting Song, also known as "Tartar Rice-planting Song", is a form of folk dance with a long history of formation, ethnicity, folklore and regional characteristics. Fushun Rice-planting Song is mainly popular in Fushun, the northeastern part of Liaoning Province. Fushun City is the hometown of the Manchu people and the birthplace of the Qing Dynasty. After the unification of the Qing Dynasty, the Northeast region is more stable, Manchu folk in the original folk dance based on the continuous absorption of other ethnic folk dance, and gradually formed from the form of performance to the role, dress up, dance movements are unique characteristics of the Manchu rice-planting song. Here we come to a detailed understanding of the Fushun rice-planting song performance form it! Fushun rice-planting song, also known as "Tartar rice-planting song", is a long-established, ethnic, folk and regional characteristics of the folk dance form is extremely rich. Fushun Rice-planting Song is mainly popular in Fushun, the northeastern part of Liaoning Province. Fushun City is the hometown of the Manchu people and the birthplace of the Qing Dynasty. After the unification of the country by the Qing Dynasty, the Northeast region was more stable, and the Manchu folk continued to absorb the folk dances of other ethnic groups on the basis of the original folk dances, gradually forming the unique characteristics of the Manchu rice-planting song from the form of performances to the roles, costumes and dance movements. It has a direct relationship with the folk dance of Manchu ancestors. According to historical records, there was a dance called "Tap Hammer" in the Tang Dynasty and a song and dance called "Mang Style" in the Ming Dynasty, which had a certain influence on the formation of Fushun Rice-planting Song. The most representative characters in Fushun rice-planting songs are the "Tartar officials" dressed in flag costumes and the "Kerry spits" (commonly known as "foreign Tartars") who only wear leather jackets, cross-body bells and all kinds of living and hunting equipment. (commonly known as "foreign Tartars"). Its performance movements are mostly originated from the primitive state of Manchu production life such as horse jumping, archery, fighting and so on, and some of them imitate the movements of eagles, tigers and bears, etc., which mostly have the elements of traditional dances. The squatting, stomping, panning, swinging, trembling and other gestures in the rice-planting songs are rich, vigorous and bold, with distinctive characteristics of the fishing and hunting life and the battle life of the Eight Banners. The accompanying music is borrowed from the percussion form of the Manchu shaman jumping to the gods, and there are "old three points", "seven sticks", "fast drums" and other ways of playing, which are quite different from the Han Yangge. Fushun rice-planting songs have been circulating in Fushun area since the Qing Dynasty, and are y loved by the masses. According to a survey in 1986, there were still 50 rice-planting teams active at that time, however, only 4 rice-planting teams have a clearer genealogy of their origins and inheritors.

I. History

Fushun Manchu rice-planting song, or Fushun Manchu rice-planting song, is a kind of Manchu folk dance circulated in the counties and districts belonging to Fushun. The Fushun Earth Rice-planting Song was formed in the early Qing Dynasty and has been passed down to the present day. It has a direct relationship with the folk dance of Manchu ancestors. According to historical records, there was a dance called "Tap Hammer" in the Tang Dynasty and a song and dance called "Mang Style" in the Ming Dynasty, which had a certain influence on the formation of Fushun Rice-planting Song.

Since the end of the Ming Dynasty, when Nurhachu rose to power in Fushun, and when the Manchurian race was formed, the Manchus inherited the "Mang-style dance", which had been handed down to them from the time of their forefathers, the Jinns. Yang Bin, a Han Chinese who lived in the Northeast for a period of time in the early years of the Kangxi period, authored the "Liubian Jiliao" (The Chronicles of Liubian). Willow Edge Chronicles" (Volume III - 15) recorded at that time "willow edge" (including Fushun area) circulated "Mang-style dance" dance movements and performance forms: "Manchuria has a big banquet, the host family of men and women will be more and more dance, the rate of raising a sleeve in the forehead, against a sleeve in the back, circling for potential, said Mang potential." After the unification of the Qing Dynasty, the Northeast is more stable, Manchu folk dance in the original folk dance based on the continuous absorption of other ethnic folk dance, and gradually formed from the form of performance to the role, dress up, dance movements are unique Manchu rice-planting song. Some historical materials, such as: "Liu border chronicle", "Fengtian Tongzhi", etc. There are many specific descriptions of the Manchu rice-planting song.

In 1936, the lead-printed book "Xingjing County" (Xingjing County is now Fushun City, Xinbin Manchu Autonomous County) recorded: "the fifteenth day of the first month, the family offerings of the Lantern Festival, through the hanging lanterns and colorful, the townspeople made a play called 'Taiping song', said to expel the evil and epidemic". Xingjing County Records" said "Taiping song" is both Fushun Manchu rice-planting songs, is the most direct record of Fushun Manchu rice-planting songs in modern local history. In the 1980s, Fushun Manchu folk dance integrated survey is found, Fushun Manchu rice-planting song inheritance is long. Born in 1926 in Xinbin Manchu Autonomous County Manchu rice-planting song veteran Zhou Rongjia (deceased), at the age of 14 years old, that is, to learn Manchu rice-planting song. He and the old artist Yang Chuanfang (deceased) once recalled: "We know that the old Tartar rice-planting song has a history of about two hundred years, mainly because of the old Han King Nurhachu who ascended to the throne in Xinbin Hetualla and created the eight banners, the soldiers and the people were one, and when they won a battle or celebrated the New Year's festivals, they had to drink rice wine and sang and danced, which gradually turned into the rice-planting song. Drums and music, led by the Tartar officials, they twisted up and sang, which is a way to have fun with the people, so it is said: 'Tartar rice-planting song' is the Manchu rice-planting song."

In 1986, at the review meeting of Fushun City Data Book for the Integration of Chinese Ethnic and Folk Dance, the experts of Liaoning Province analyzed and appraised this folk dance scientifically and believed that the Fushun region's rice-planting songs wear the Eight Banners' flag markers on their costumes, and that the performances of "playing the Qian'er salute" and "holding the waist salute" are distinctly Manchu; and that the unique rhythms of the movements -- Yang, squatting, stomping, panning, swinging and trembling -- have a strong sense of the Manchu people's fishermen's spirit, and are also characteristic of the Manchu people. It is characterized by the rich fishing and hunting life and social activities of the Manchu people, and can be regarded as the representative folk dance of the Manchu people in Fushun area. In view of the policy of respecting ethnic minorities, it is not called "Tartar rice-planting song", and is officially named "Manchu rice-planting song". From the above historical data can be seen, Fushun Manchu rice-planting song formation and development of a long history.

II. Types

There are two main types of Fushun Manchu rice-planting songs, one originating from Hebei Province, which was introduced by immigrants from within the country; on the other hand, it originates from the traditional folk dance of the Manchu people, and is formed by the evolution and integration of the Manchu rice-planting songs, which is also known as "Taiping Rice-planting Songs", and is commonly known as "Tartar Rice-planting Songs". It is also known as "Taiping Yangge" and commonly called "Tartar Yangge". Fushun rice-planting song was formed in the early Qing Dynasty, and has been passed down to the present day. According to experts, the characters and their costumes in Manchu rice-planting songs are not only the embodiment of the Manchu way of life, but also the artistic embodiment reflecting the Eight Banners system and the unity of the army and the people.

III. Artistic Characteristics

There used to be two varieties of Fushun Manchu rice-planting songs, one originating in Hebei and introduced to Fushun by immigrants from Guannai; and the other originating from traditional Manchu folk dances, which have evolved and fused to form Manchu rice-planting songs. Fushun rice-planting song refers to "Fushun Manchu rice-planting song", also known as "Taiping song", commonly known as "Tartar rice-planting song".

The most representative characters in Fushun rice-planting songs are "Tartar officials" dressed in flag costumes and "Kerry spits" (commonly known as "foreign Tartars") who wear only leather jackets, cross-body bells and a variety of living and hunting equipment. Its performance movements are mostly originated from the primitive state of Manchu production life such as horse jumping, archery, fighting and so on, and some of them imitate the movements of eagles, tigers and bears, etc., which mostly have the elements of traditional dances. The squatting, stomping, panning, swinging, trembling and other gestures in the rice-planting songs are rich, vigorous and bold, with distinctive characteristics of the fishing and hunting life and the battle life of the Eight Banners. The accompanying music is borrowed from the percussion form of Manchu shaman jumping to the gods, and there are "old three points", "seven sticks", "fast drums" and other ways of playing, which are quite different from the Han Yangge.

1. Dressing up props

The main characters of Fushun Manchu rice-planting songs and their dressing up and props are: Tartar officials, commonly known as "Tartar" and "Grand Master". There are two "Tartar officials" in the general dance team. They wore tasseled hats, arrow coats, colorful pants, yellow vests, red war skirts, waist bands, and black boots. Hand waving fly broom, slanting belt knife.

Cree spit, commonly known as "outside the Tartar", "monk spit". Characters smeared black face, head wearing a felt hat, body reverse leather jacket, pants, cross-body string bells, hand waving a long whip to play the field, to maintain order.

La stick, responsible for liaison, paddling field step formation, wearing a cool hat, wearing an arrow coat, colorful pants, tie the waistband, wearing fast boots, holding a willow stick.

The top, the female characters in the dance team, the number is not limited, head "flower mountain", dress up freely, with brightly colored quilts as skirts, different colors to distinguish between the flags, holding a fan, handkerchiefs.

The male characters in the dance team, unlimited in number and free to dress up, are clad in various colors of wrapping skins, ribbons, etc., to indicate their flag affiliation.

2. Performance Program

The performance program of Fushun Manchu rice-planting songs is generally like this: the rice-planting dance team usually gathers and performs on the designated spacious and flat land. The dance team is led by a Tartar official, followed by a stick puller, with men and women lined up in two rows, and other characters walking in between. After the dance team entered the first "three worship tea table", the Tartar official performs "see the salute", Kerry spits the long whip to hit the field, the Tartar official leads the team to "walk the lineup", "walk the lineup", after the upper and lower costumes "circle field", into the "field of two", this is the culmination of the performance, and finally, the Tartar official leads the team to give the Manchu salute to the presenter (the host) and to the viewing public to express their gratitude. After that, you can then "go array", "circle field", repeated many times, enjoy the party.

Four. Artistic Characteristics

The Fushun Manchu rice-planting songs inherited the folk dance prototypes of the Manchu ancestors, such as "Tap Hammer" and "Mangshi", absorbed the length of the Han Chinese rice-planting songs, and gradually evolved, with their own distinctive characteristics in terms of the characters, the number of performers, the etiquettes, the dresses, the scenes, and the movements. In terms of the number of performers, rituals, costumes, scenes, movements, etc., it has its own distinctive features and is characterized by fiery, vigorous, rough and bold performances. Fushun Manchu Yangge can be summarized as "Yang, squatting, swinging and trembling" in terms of dance rhythms, with its unique style and vivid performances, in which the "big field - walking formation" and "small field - two people" are performed. "small field - two-person field" and the storyline of the folklore to form a series of rice-planting songs, with its big swing big waves, circling for the trend, reproducing the ancestors of the Manchu people brave and good at war riding and shooting for the sake of this folklore, often appear very warm and hot scenes.

The Fushun Manchu rice-planting songs are accompanied by drums and music of more ethnic characteristics, and the drums and gongs are "old three-pointed", which originated from the drums held by the Manchu folk rituals when jumping to the gods.

The ancestors of the Manchu people lived in the mountains all year round, and hunting and war were the main forms of life. Fushun Manchu rice-planting song dance movements of the national characteristics of its lifestyle is the dynamic performance. Fushun Manchu rice-planting song to arm in front, an arm in the back, big stretch for the main features; upper body shaking, lower body bending knees, feet staggered, big ups and downs for the basic modeling, which is closely related to the way of life of the ancestors of the Manchu people. The dance rhythm can be summarized as: Yang, squatting, stomping, panning, swinging and trembling. For example, "Yang" is the action of arms, which is characterized by open amplitude, stretching and exuberance, big stretch. The Qing dynasty palace escapades" said "Manchu people dance when the meteorological development of the force", that is, the excitement of the fierce, is the hunting, the basic characteristics of the war nation; and then "squatting", refers to the male lower body half-squatting, bending the knee into ninety degrees or so, and with the rhythm of the action of the undulation of the mobile movement, modeling robust, is the Manchu people are good at mounted archery, banner bow, jumping to the array, bending into the reverse, up and down the rapid and slow a true portrayal of the. In the old days, when performing, the Manchu rice-planting song and dance team first went to "worship the temple" after concentrating, and entered the temple to perform in the big temple and performed in front of the temple when encountering the small temple. If outside the village rice-planting dance team to come, the local Manchu officials should immediately lead the team out of the village to the village entrance to meet, began to "see the gift", and then can start performing. Without this custom, the "meeting ceremony" has become an indispensable part of the Fushun Manchu rice-planting songs. Later, when the custom of worshiping temples and the custom of welcoming guests at the entrance of the village gradually disappeared, the rice-planting dance team usually gathered in the designated spacious and flat field to perform.

According to experts, the characters and their costumes in Manchu rice-planting songs are not only the embodiment of the Manchu way of life, but also the artistic reflection of the Eight Banners system and the unity of the military and the people.

The Manchu rice-planting songs circulating in the Fushun area originated from Manchu dances. Although in the long course of history, the Manchu and Han Chinese have long been living together, Manchu and Han economic and cultural integration, especially the frequent exchange of folk art, so that Manchu folk art activities also has a strong Han color, but the content, form and performance skills of the Manchu rice-planting song is still not lost in the Manchu people are good at riding and archery, the courage to fight, hard work, thrifty in the production of the basic style of life. Due to the special characteristics of the living environment, there are different genres of Manchu rice-planting songs under the same situation of basic rhythms. For example, in Fushun Xinbin Manchu Autonomous County, Huangqi Township (formerly known as Mataangou), the local style is characterized by the "leaping horse style".

V. Significance of inheritance

Fushun Manchu rice-planting songs use unique forms of expression to artistically reproduce the Manchu people's national spirit of reverence for martial arts, focus on etiquette of the ancient folkways, through the character setup, dress up, reflecting the system of the Eight Banners and the tradition of military and people's music together, is an important carrier of the traditional culture of the Manchu national people; the use of unique dance movements, artistically reflecting the Manchu people have been laboring for many generations, living in the mountainous areas, hunting, conquering as the basic content of their lives. Using unique dance movements, it artistically reflects the ethnic style of the Manchu people who have been working and living in the mountainous areas for generations, with hunting and fighting as the basic content of their life, and is a living fossil of the production and life style of the Manchu ancestors. It is because it is the most representative of Manchu folk art in the form of artistic expression, cohesion of history, culture, art, heritage value, so, generation after generation passed down.

However, Fushun Manchu rice-planting songs are on the verge of an existential crisis. The inheritance of Fushun Manchu rice-planting songs in the last century was mainly the overall inheritance of the people in villages and communities. There are also some family inheritance, master and apprentice inheritance. In the 1980s, when the national folk dance integrated census, there were still more than 50 groups of Manchu rice-planting songs in Fushun area. At present, there are very few pure traditional Manchu rice-planting songs, and even annual festivals do not see activities, and occasionally some celebrations are dressed in Manchu costumes without the traditional content and artistic characteristics of Manchu rice-planting songs. In addition, the old artists of Manchu Yangge have passed away, and a few existing old artists are old and sickly, so Manchu Yangge is facing the situation of being lost. Especially because a large number of Manchu compatriots have been Sinicized, and young and middle-aged people have little contact with the traditional culture of the Manchu, the important carrier of traditional Manchu culture - Manchu Yangge is on the verge of extinction.

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