Xianziqiang
01 · Historical Records
Pingli xianzi qiang took shape as a distinctive genre after more than one hundred and ninety years of tempering; originating among the people and close to their hearts, it reflects the regional historical and cultural information of different periods and is a microcosm of social and cultural development and of the people's spiritual and cultural life. In the twenty-fourth year of Jiaqing (1819) the “lianhualuo” artists Li Jingmo and Li Zengmo, two brothers, first created the use of a specially made xianhu for accompanied singing, changed the “lianhualuo” clapper to small tooth-clappers with flower-chips for marking the beat, and blended local mountain-song tunes and work chants into each sung passage as a “shouted tune” ending, whence the name “xianzi qiang”.
02 · Core Techniques & Process
Pingli county in Shaanxi lies at the junction of Shaanxi, Hubei and Chongqing. Pingli xianzi opera, also called xianzi qiang, was created in 1819 by the “lianhualuo” artists Li Jingmo and Li Zengmo on the basis of the existing lianhualuo shadow puppetry, using a specially made xianhu for accompanied singing, replacing the lianhualuo clapper with small tooth-clappers and flower-chips to mark the beat and blending local mountain-song tunes and work chants into each passage as a “shouted tune” ending. This performing form, centred on Pingli county, spread through the neighbouring Zhenping, Xunyang, Baihe, Hanbin and Langao and through Zhuxi, Zhushan and Fang county in Hubei and Wuxi and Wushan in Chongqing. Its tones are based on Pingli local speech and its music belongs to the banqiang system; the folk narrative-singing feature in its arias, the “dropped-tune spoken passage” and “shouted-tune chant” that must follow the end of each passage, and the use of the special xianhu accompaniment and small tooth-clappers with flower-chips in its instruments are features peculiar to xianzi opera and unlike other genres.
The Dropped-Tune Spoken Passage and the Shouted-Tune Chant
The “dropped-tune spoken passage” and “shouted-tune chant” that must follow the end of each passage, features peculiar to xianzi qiang and unlike other genres.
Xianhu Accompaniment
Xianzi qiang sings to the accompaniment of a specially made xianhu, from which it takes its name.
Small Tooth-Clappers with Flower-Chips Marking the Beat
In 1819 Li Jingmo and Li Zengmo replaced the lianhualuo clapper with small tooth-clappers and flower-chips to mark the beat, a practice still followed.
The Traditional Repertory (Folk-Story Subjects)
Xianzi qiang's traditional repertory is mainly on folk stories and life subjects; originating among the people and close to their hearts, manuscript copies from the Qing to the Republican period survive.
03 · Regional Records & Related Items
Xianzi qiang centres on Pingli county, Shaanxi, and is popular in the neighbouring Zhenping, Xunyang, Baihe, Hanbin and Langao and in Zhuxi, Zhushan and Fang county in Hubei and Wuxi and Wushan in Chongqing; named for its special xianhu accompaniment, its small tooth-clappers with flower-chips marking the beat and its “shouted-tune chant” ending.
04 · Cultural Value & Contemporary Safeguarding
The inheritor has fully inherited the artistic features of Li Jiande's xianzi qiang performance, being masterly in blowing, bowing, plucking, singing, percussion and all the sheng, dan, jing, mo and chou roles, praised as the “all-round hand” of xianzi qiang. His singing is ringing and bright and his recitation light and natural; in comedy his words come in a stream and often set people roaring with laughter, while in tragedy he is true and sincere enough to move them to tears. His singing has a rich regional cultural character and is deeply loved by the people.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Wu Chengquan 05-2470
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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