Bai Manimai

01 · Lineage & Regional School

Bai Manimai, Male, Unspecified, from Xinlong, Sichuan, is a third-batch national representative bearer of Guozhuang Dance (Ⅲ-20). The tradition is documented in Xinlong, Sichuan. Within the regional tradition and school record of Guozhuang Dance in Xinlong, Sichuan: According to the region in which it is popular, guozhuang dance can further be divided into categories such as Ganzi guozhuang and Manai guozhuang. The movements of male dancers are rugged and vigorous, those of female dancers graceful and lively, giving the dance a distinctly local character. Men and women form teams and make a circle, facing inward, and dance gracefully. According to the Tibetan book *The Royal Lineage of Ladakh*, guozhuang had already developed in the Tibetan areas as early as the period of the Deqiao Gong, long before the rise of the Tubo Kingdom. After more than a thousand years of development and change, it has evolved into several major schools. Ganzi guozhuang took shape in the area of Ganzi Prefecture. After 1978, guozhuang activity in Ganzi grew even livelier and had already become an indispensable mass recreational activity at festivals. In the Republic of China period the lyrics mostly praised the gods and Buddhas and the tusi and local chiefs. After the founding of the People's Republic of China, some traditional lyrics were retained while new ones were created praising the socialist system, singing of the Communist Party and extolling the hard-working and courageous nature of the people.

02 · Mastery & Signature Works

Male, Tibetan ethnicity, born in January 1943, a native of Xinlong County, Sichuan Province. He learned guozhuang skills from his elders from childhood and is one of the few remaining zhuoben, the Tibetan term for a lead dancer, of Ganzi guozhuang in Xinlong County today. He possessed rich performance experience, with graceful bearing and a sweet voice; his dance movements were broad in range, his outstretched arms like an eagle circling and soaring. He took part in more than one hundred guozhuang performances and represented Xinlong County many times at provincial and prefectural art festivals, guozhuang showcases and similar events. He actively took disciples and taught them, committing himself to the transmission of Ganzi guozhuang. Within the documented technical tradition of Guozhuang Dance in Xinlong, Sichuan: Guozhuang dance is a type of folk dance popular in Tibetan-inhabited areas. It changes continually as the social history of the Tibetan people develops. There are songs and dances reflecting labour such as threshing highland barley, twisting wool, feeding livestock and brewing wine, and there are songs and dances portraying Tibetan customs and performed at weddings, house completions and when welcoming guests and entertaining visitors. Guozhuang dance is divided into old-style guozhuang and new-style guozhuang. Old-style guozhuang is sacrificial in character: only its set lyrics may be sung and no alteration whatsoever is permitted, and the dance is generally slow, steady, archaic and solemn. New-style guozhuang mostly reflects farming and herding production and commercial and trading activity; both its lyrics and its dance movements are relatively free and flexible. An ordinary guozhuang dance is not limited in the number of performers; it may be danced by one person or by many. Its dance steps fall into two main categories, 'guozhuo' and 'kuzhuo'; the former is walking dance, the latter turning dance. Guozhuang means 'circle dance'; it is an ancient traditional song-and-dance form. Ganzi guozhuang is one of its branches. In the Republic of China period Ganzi organized a guozhuang troupe every year (men and women alike) to perform at monasteries for the tusi and the local chiefs. This gradually formed the 'dance corvee system', which was abolished only after the founding of the People's Republic of China. The performing format of Ganzi guozhuang is: men and women form a circle, or each side forms a small circle of its own. Each side has a singing and dancing 'zhuoben' (lead dancer). Before the dance begins, each side first sings a free-metre 'yinzih' (introduction), after which the dancing proceeds clockwise. When the men's side sings and dances, the women's side dances without singing; when the women's side sings and dances, the men's side dances without singing. While dancing, men and women either link arms or dance without linking arms; the tempo slows to quick, and the performance ends at the climax with a fast tempo. By traditional custom the lyrics and tunes of Ganzi guozhuang follow a fixed sequence that may not be altered at will: first, gathering in joy; second, prayer; third, praise; fourth, jest; fifth, marriage; sixth, glorification of the Buddha. As a rule a guozhuang is not concluded until ten tunes have been sung and danced. In stylistic terms Ganzi guozhuang is archaic and expansive, and especially in its fast-tempo passages the melody is warm and spirited. The tunes and dance postures of Ganzi guozhuang were basically the same before and after the founding of the People's Republic of China. The lyrics have changed to some extent as the times have developed. The lyrical form of such folk songs usually belongs to antiphonal songs or long epics. The most common is the three-part form, each part running from 2 to 8 lines, and each line most often having 8 syllables. The most prevalent time signature is 2/4, and in addition some parts use the relatively more complex meters of 3/4, 6/8 and so on. The common modes are the yu mode and the shang mode. Representative repertoire, works and technical entries recorded for the project include: "The song texts of Upper, Middle and Lower Zhom": The inheritor A De masters the many circle dances and song texts of Upper, Middle and Lower Zhom. "Baima Nimai, Zhuoben of Xinlong": Baima Nimai is one of the few remaining Zhuoben of Xinlong, his wide arm sweeps likened to an eagle circling. "Circle dances of the old Nyagrong": Xinlong, once called Nyagrong, lies in the gorges of the middle Yalong where each district keeps its own songs and melodies. "Postures imitating an eagle": The men's wide arm movements suggest an eagle wheeling in flight, a shared trait of Khampa male dancers.

03 · Transmission & Safeguarding Status

He was a national representative bearer of Guozhuang Dance (Ganzi Guozhuang), a third-batch national intangible cultural heritage project.

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. Bai Manimai · National Representative Bearer Archive