Muban Dagu Drum Balladry
01 · Historical Records
Muban dagu (wooden-board drum balladry) is traditionally said to have formed in the Qianlong reign of the Qing dynasty. Its well-known performers include Li Wentong (Li Shangzhi), Cao Zhankui, Li Diankui, Zhang Baikui, Deng Liankui, Li Zhenkui, Ma Ruihe, Ma Ruilin, Zhu Hualin, Pang Fengcheng, Hu Jinxiang, Cao Jinsheng and He Guihai, of whom Ma Ruihe ('Ma the Madman'), Zhu Hualin ('Zhu the Great Official') and Pang Fengcheng exerted the greatest influence and contributed the most. Since the beginning of the 21st century, the transmission and development of Muban dagu has fallen into a predicament.
02 · Core Techniques & Process
Muban dagu is a form of quyi drum balladry circulated over most of Hebei Province, and it also goes under the names xiaokou dagu, qingkou dagu, meihua diao, lao muban zi, lao beikou muban, qie dagu, gu peng xian'er, xianzi gu'er, muban Xihe diao and bie si niu ('choking the ox'). In performance one performer holds a wooden board in the left hand and a drumstick in the right, and while standing to narrate and sing alternates the strokes of board and story drum so that they match the recitation and the singing; another person holds the sanxian and plays it alone as the accompaniment. The traditional repertoire of Muban dagu is extremely rich. Short pieces number more than a hundred, such as The Mouse Accuses the Cat (Laoshu Gao Mao), Quanren Fang (Admonishing People), Du Linying, Guo Ju Buries His Son (Guo Ju Mai Er), Mulian Rescues His Mother (Mulian Jiu Mu) and Zhao Wuniang; medium-length works number more than a hundred, such as The Second Plum Blossom (Erdu Mei), The Tale of the Mounted Robbers (Xiangma Zhuan), The Tale of Wu Song (Wusong Zhuan), The Thousand-Li Steed (Qianliju), The Golden Ring Chronicle (Jinhuan Ji) and Judge Jiang's Case (Jiang Gong'an); long works include the 'Five Spring and Autumn' tales — the Spring and Autumn Annals of the Zuo Tradition (Zuo Zhuan Chunqiu), the Spring and Autumn of Wu and Yue (Wuyue Chunqiu), the Spring and Autumn of Heroes and Martyrs (Yinglie Chunqiu), The Spring and Autumn of Zou Ma (Zouma Chunqiu) and The Spring and Autumn in the Golden Casket (Jinhe Chunqiu) — as well as the 'three generals and three cases' formed by the Xue, Yang and Hu families together with the cases of Lord Bao, Lord Liu and Lord Hai, and dozens of other long works such as The Flying Dragon (Feilong Zhuan) and Ma Qianlong's Journey Through the Realm (Ma Qianlong Zouguo). Its vocal music belongs to the banqiang (clapper-metre) system; its tunes are plain and distinctive, rugged and sonorous. It has exercised, to differing degrees, an influence on the formation and development of many drum ballads and drum tunes in the north such as Xihe dagu, Jingyun dagu, Jingdong dagu, Leting dagu and zhuban shu, and it possesses highly distinctive artistic value. Only eight well-known folk performers of Muban dagu remain, and the youngest of them is already 57 years old, so its prospects are highly worrying.
The Wang and Mu branches
Cangzhou produced two branches of the genre, led by Wang Fuzhen, nicknamed Cangzhou Red, and Mu Hanqing.
The five Spring and Autumn tales
Five long tales of the Spring and Autumn period that, with the three generals and three cases, form the backbone of the long repertoire.
Three generals, three cases
The Xue, Yang and Hu family generals alongside the cases of Lord Bao, Lord Liu and Lord Hai, with dozens more long works.
Boards and drumstick
The singer strikes wooden boards with the left hand and a drum with the right while narrating, accompanied by a sanxian.
Short and medium pieces
Over a hundred short pieces including The Mouse Sues the Cat, and some hundred medium-length works such as The Second Plum Blossom.
03 · Regional Records & Related Items
Muban dagu developed with distinctive character in the Cangzhou area, where two branches appeared, those of Wang Fuzhen and Mu Hanqing; because of his great influence Wang Fuzhen was given the nickname 'Cangzhou Red'.
04 · Cultural Value & Contemporary Safeguarding
The competent departments should attach importance to this and formulate plans to rescue and protect it. Tang Guifeng (as recorded in the official file of the associated inheritor): Male, of Han ethnicity, born in 1939, a native of Cang County, Hebei Province. His vocal style is rugged and archaic, hoarse and slow, and he is especially skilled in narrating and singing long grand works. His representative works include The Returning Dragon (Huilon Zhuan) and The Generals of the Hu Family (Hujia Jiang). Representative inheritor of Muban dagu, a national-level intangible cultural heritage project in the second batch. Liu Yinhe (as recorded in the official file of the associated inheritor): Male, of Han ethnicity, born in 1949, a native of Cangzhou, Hebei Province. His performance is full of feeling and expression, his portrayal of characters is delicate and vivid, and he is especially skilled in singing short passages. His representative works include The Eight Righteous (Bayi) and The Little Eight Righteous (Xiao Bayi). Representative inheritor of Muban dagu, a national-level intangible cultural heritage project in the second batch.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Tang Guifeng 02-0717
- Liu Yinhe 02-0718
- Wang Zhenyi 05-2482
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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