Shannan Menba Opera
01 · Historical Records
It is said that at the end of the eighteenth century Qiangba Kelong brought back from Lhasa a Tibetan-language script of Norsang Wangzi, from which Menba opera began to circulate in Lebu. Because it directly adopts Tibetan opera's Tibetan-language scripts, it is popularly called “Menba lham”, that is, Menba Tibetan opera. Its performance proceeds in order through the opening play “Dunqiang”, the main play “Xiong” and the closing play “Zhaxi”, with only six actors and one accompanist on drum and cymbals, all performers being male.
02 · Core Techniques & Process
“Dunqiang” is also called “Qionggan Zawa Song”, meaning “the three fundamental origins”, referring to the three characters Wenba, Jialu and Lamu borrowed from Tibetan opera's opening rite; these become six roles in the Menba opening rite—the old fisherman (old Wenba), young fisherman (young Wenba), Jialu, immortal elder, fairy (Lamu) and dragon girl. The rite has these six characters enter in turn to dance, sing and perform, interspersed with performances of sacrifice to the sun god, musk-deer god, elephant god, yak god, deer god and millstone god. After the main play begins the six actors, besides playing six roles, take turns doubling other roles without changing costume or make-up. Besides the six actors and one accompanist, a troupe generally has a manager who also takes part in the opening, in black Tibetan dress and a “bodü” hat, holding a banner of the protective deity “Dugarri”, first circling the ground and then leading the six actors on. The drum-and-cymbal player is more demanding: besides playing the small drum and cymbals he must know the whole plot, all the lines and all the singing, dance movements and acting, so that the drum and cymbal beats match the rhythm of the whole drama. Menba opera's performance derives from Menba folk dance, song-and-dance and religious art, and its music from the Menba folk song “Sama” (drinking song), also absorbing Menba narrative-singing, ancient songs, laments and religious music. Its costumes are based mainly on Menba daily dress while also influenced by Tibetan dress. In the Lebu area, during the Tibetan New Year it is stipulated that Norsang Fawang be performed continuously for seven days, one section a day. Being in a remote border area of Tibet, Lebu's Menba opera had already ceased activity before the founding of New China, and has been so for half a century. But Menba opera has only amateur performance.
Norsang Fawang (Prince Norsang)
A traditional Menba opera play performed in the Lebu area continuously for seven days at the Tibetan New Year, one section a day.
03 · Regional Records & Related Items
Menba opera is popular in the Menba-populated area of the south-eastern slopes of the Himalayas, that is, the Lebu district of Cuona county in Shannan, Tibet; because it directly adopts Tibetan opera's Tibetan-language scripts it is called “Menba lham”. In the Lebu area Norsang Fawang must be performed continuously for seven days at the Tibetan New Year, one section a day, forming a stable seasonal performing tradition.
04 · Cultural Value & Contemporary Safeguarding
Menba opera is the operatic genre of the Menba people, popular in the Menba-populated area of the south-eastern slopes of the Himalayas, that is, the Lebu district of Cuona county in Shannan, Tibet. After the Tibetan authorities took rescue and support measures, it has now partly recovered. Gesang Danzeng (as recorded in the official dossier of an associated inheritor): male, Menba, born in 1970 in Cuona, Tibet. Gesang Danzeng served as deputy head of Xian village committee from June 1989 to 1992 and head of Lebu village committee from 1993 to 2007, and is a representative figure of Menba opera. He is a representative inheritor of Shannan Menba opera in the second batch of national intangible cultural heritage projects. Basang (as recorded in the official dossier of an associated inheritor): male, Tibetan, born in 1950 in Naidong, Tibet. Basang worked in the amateur art propaganda team of the Naidong commune in Shannan, Tibet, from 1963 to 1981, afterwards in the Naidong county Wulumuqi performance team and the Shannan literary editorial department, and since 1987 has been deputy head of the Ethnic Cultural Heritage Rescue Office of the Shannan Culture, Radio and Television Bureau. He is a representative inheritor of Shannan Menba opera in the second batch of national intangible cultural heritage projects. He came into contact with Shannan Menba opera (Menba Ajilham) in 1986 and in 1987, at the Zhebung Shoton performance organised by the autonomous region's Department of Culture, served as director of Shannan Menba opera and won a collective second prize.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Gesangdanzeng 02-0636
- Basang 02-0637
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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