Xu Yueying

01 · Lineage & Regional School

Xu Yueying, Female, Han, from Hequ, Shanxi, is a fourth-batch national representative bearer of Errentai (Ⅳ-73). The tradition is documented in Hequ, Shanxi. Within the regional tradition and school record of Errentai in Hequ, Shanxi: Taking Hohhot as the dividing line, the style schools of Errentai fall into a western route and an eastern route. Errentai is a folk small opera popular in the central and western regions of Inner Mongolia and in northern Shanxi, northern Shaanxi and Zhangjiakou in Hebei, and its original melodies are local folk songs. Hequ lies on the eastern bank of the Yellow River in north-west Shanxi, faces Shaanxi's Fugu and Inner Mongolia's Jungar across the river, and is an important starting point of "walking the west pass"; the local Errentai takes as its backbone vocal styles developed from northern Shanxi folk songs such as [Zou Xi Kou] (Walking the West Pass), [Wu Ge Fang Yang] (Fifth Brother Herding Sheep) and [Zhen Zhu Dao Juan Lian] (Pearls Rolling Up the Blind), while also taking in folk songs from northern Shaanxi, Inner Mongolia and the Jianghuai region, forming the school centred on Hequ.

02 · Mastery & Signature Works

Female, Han ethnicity, born in December 1947 in Hequ County, Shanxi Province. Influenced by her family from childhood, she loved folk songs and the art of Errentai. At the age of twelve she was selected for the Hequ County Errentai troupe, where she received guidance from the renowned masters Ding Xicai, Li Fazi, Lü Guiying, and Fan Liu and systematically studied traditional vocal technique and basic stage skills. She inherited and developed more than a dozen vocal methods, including huahua qiang (ornamented melody), manqiang manzi (full-voice, full-word delivery), and jiashuo daichang (speech interspersed with song). By combining chest and falsetto registers and drawing on nasopharyngeal resonance, she widened her range and refined her tone; she also used numerous padding syllables, function words, and distinctive ornaments in her singing, gradually forming a vocal style of her own. Her representative works include Zou Xikou (Heading Beyond the Western Pass), Tan Bing (Visiting the Sick), Nie Ruangao (Pressing the Rice Cakes), Gua Hongdeng (Hanging the Red Lantern), Mai Cai (Selling Vegetables), Xiao Gu Xian (The Wise Young Sister-in-Law), Da Jinqian (Striking Coins), and Da Yingtao (Picking Cherries). Within the documented technical tradition of Errentai in Hequ, Shanxi: Errentai is a folk small opera popular in the central and western regions of Inner Mongolia and in northern Shanxi, northern Shaanxi and Zhangjiakou in Hebei. Its original melodies are local folk songs: vocal styles developed from Han folk songs of the central and western regions of Inner Mongolia such as [Da Ying Tao] (Cherry-Striking), [Ya Gao Mian] (Pressing Cake Flour) and [Da Hou Tao] (Back-Harness); vocal styles developed from northern Shanxi folk songs such as [Zou Xi Kou] (Walking the West Pass), [Wu Ge Fang Yang] (Fifth Brother Herding Sheep) and [Zhen Zhu Dao Juan Lian] (Pearls Rolling Up the Blind); vocal styles developed from northern Shaanxi folk songs such as [Song Da Ge] (Seeing Off the Elder Brother), [Shi Li Dun] (Ten-Li Mound) and [Xiu He Bao] (Embroidering the Purse); vocal styles developed from Mongolian folk songs such as [Ala Ben Hua] and [Wang Ai Zhao]; the northern Hebei folk song [Shi Dui Hua] (Ten Flower Pairs); and Jianghuai folk songs such as Jasmine Flower and Beauty Yu. The paizi qu (banner tunes) also draw on many Jinju (Shanxi opera) tune patterns, folk wind-and-percussion music and religious music. Western-route Errentai was originally called Menggu qu and was mainly popular in the city of Hohhot, the city of Baotou, Bayannur League, Yeke Zhao League, the Yulin area and the Xinzhou area; eastern-route Errentai was first called "bengbeng" or simply Errentai and was mainly popular in Ulanqab League, the Yanbei area and the Zhangjiakou area. Traditional Errentai repertoire deals mainly with labour and production, exposes the darkness of the old society and sings of marriage and love; some plays tell mythological and historical stories. Western-route Errentai has plays such as Money-Striking, Cherry-Striking, Back-Harness, Climbing the Mountain Top and Ala Ben Hua, while eastern-route Errentai has Return from South of the Pass, Leading the Donkey, Picking Sichuan Pepper, Selling Malt Sugar and Lanzhou City. The performing forms of Errentai fall into three large categories: yingma xi, daibian xi and duichang. Yingma xi stresses singing, recitation and acting and demands a good voice from the performer; daibian xi stresses dance performance; duichang is sung alternately by two performers. Representative repertoire, works and technical entries recorded for the project include: "Money-Striking": Western-route Errentai has plays such as Money-Striking, Cherry-Striking, Back-Harness, Climbing the Mountain Top and Ala Ben Hua, while eastern-route Errentai has Return from South of the Pass, Leading the Donkey, Picking Sichuan Pepper, Selling Malt Sugar and Lanzhou City. "Cherry-Striking": Western-route Errentai has plays such as Money-Striking, Cherry-Striking, Back-Harness, Climbing the Mountain Top and Ala Ben Hua, while eastern-route Errentai has Return from South of the Pass, Leading the Donkey, Picking Sichuan Pepper, Selling Malt Sugar and Lanzhou City. "Back-Harness": Western-route Errentai has plays such as Money-Striking, Cherry-Striking, Back-Harness, Climbing the Mountain Top and Ala Ben Hua, while eastern-route Errentai has Return from South of the Pass, Leading the Donkey, Picking Sichuan Pepper, Selling Malt Sugar and Lanzhou City. "Climbing the Mountain Top": Western-route Errentai has plays such as Money-Striking, Cherry-Striking, Back-Harness, Climbing the Mountain Top and Ala Ben Hua, while eastern-route Errentai has Return from South of the Pass, Leading the Donkey, Picking Sichuan Pepper, Selling Malt Sugar and Lanzhou City.

03 · Transmission & Safeguarding Status

National representative bearer of Errentai, a fourth-batch national intangible cultural heritage project. During her years at troupes and schools she trained numerous nationally recognized performers and theoreticians for both Shanxi and Inner Mongolia, earning widespread acclaim.

04 · Associated Heritage Item Dossier

05 · Fellow National Bearers Lineage

National representative bearers recorded under the same item code, ordered from the first to the sixth batch. Batch order is not a teacher–student relationship.

06 · Archival Sources & Bibliography

1. Xu Yueying · National Representative Bearer Archive