Heluo Dagu Drum Balladry
01 · Historical Records
Heluo dagu originated in the late Qing and the early Republican period, developing on the basis of Luoyang qinshu. In the early 19th century Heluo dagu was formed by combining Luoyang qinshu with 'dan dagu' (single big drum) and absorbing certain tunes from Henan zhuizi. It was named Heluo dagu in the early 1950s.
02 · Core Techniques & Process
Luoyang qinshu was formerly called 'qinyin', and its early accompanying instrument was the seven-stringed guqin, the traditional Chinese zither. 'Qinyin' was passed down among officials, business magnates and literati; its words and music were refined, and after it flowed into the world of the common people it was renamed 'qinshu', and its qin was likewise changed to the yangqin (hammered dulcimer). In its early days Luoyang qinshu was mostly performed seated with closed eyes; its vocal style was roundabout and delicate, with few words to many notes in the melody, and its rhythm slow and drawn out, and the repertoire it sang consisted mostly of medium- and short-length stories of the separation and reunion, sorrow and joy of gifted scholars and beautiful ladies. In its early days it was called by the people 'dagushu' (big drum book), 'gupengxian' (drum meeting strings) and 'gangban shu' (steel-plate book). Its vocal style belongs to the 'banqiangti' (metrical-temperament) system, with a rich variety of ban formulas, which makes it convenient for narrating all sorts of repertoire. Among traditional programmes, long works such as gong'an shu (judicial-case narratives), wuxia shu (chivalric tales) and paodai shu (robed-official tales) are the most numerous. Zhang Tianbei, a second-generation inheritor known as the 'Champion of Storytelling', was known in almost every household in Luoyang; Cheng Wenhe, a third-generation inheritor, enjoyed a fine reputation in western Henan and represented Henan at the first national quyi convention, where his rendition of 'Zhao Yun Intercepts the River' won the admiration of state leaders; fourth-generation inheritors such as Duan Jieping, as well as Wang Xiaoyue, former head of the Henan Provincial Quyi Troupe, each established a style of their own and became renowned far and wide. However, as the times developed and changed, Luoyang quyi fell into a trough; many cities and counties cancelled their quyi troupes, and most quyi performers changed occupations or drifted among the folk, surviving or perishing on their own.
Luoyang qinshu
The qinshu ancestor of the genre, once sung to the seven-string zither, later to the yangqin, in a slow and delicate seated style.
Zhang Tianbei
The second-generation transmitter known as the champion storyteller, a household name in Luoyang.
Cheng Wenhe and Zhao Yun
The third-generation transmitter Cheng Wenhe, who represented Henan at the first national congress of quyi performers with Zhao Yun Intercepts the River.
Earlier names
The earlier names by which the genre was known before it was formally named in the early 1950s.
Court-case and martial tales
Its traditional repertoire favours long court-case, martial and robed-general tales, supported by a rich metrical system.
03 · Regional Records & Related Items
Heluo dagu takes Luoyang as its centre and is transmitted in western Henan, namely Yanshi, Mengjin, Xin'an, Yiyang, Yichuan, Song County, Luanchuan and the areas of Sanmenxia and Zhengzhou. Its predecessor, Luoyang qinshu, was formerly called 'qinyin'; its early accompanying instrument was the seven-stringed guqin, the traditional Chinese zither; it was passed down among officials, business magnates and literati, with refined words and music, and after it flowed into the world of the common people it was renamed 'qinshu', with the qin likewise changed to the yangqin. In the course of its transmission Heluo dagu also went under old names such as 'dagushu', 'gupengxian' and 'gangban shu', and it was only formally given its present name in the early 1950s. Performers regularly present long works such as gong'an shu, wuxia shu and paodai shu, and the line of inheritors passes from one generation to the next: the second generation included Zhang Tianbei, the 'Champion of Storytelling'; the third-generation Cheng Wenhe was celebrated in western Henan and represented Henan at the first national quyi convention; the fourth generation included Duan Jieping and Wang Xiaoyue. The Luoyang Municipal Cultural Centre is the protecting unit for this project, and inheritors such as Lu Sibei still persist in performing on the storytelling stage.
04 · Cultural Value & Contemporary Safeguarding
In the transmission of Heluo dagu, many well-known artists appeared in succession. In recent years a number of renowned veteran artists have died one after another and there is a dearth of successors; this quyi genre, representative of the Luoyang region, is on the verge of disappearing and urgently needs rescue and protection. Lu Sibei (as recorded in the official file of the associated inheritor): male, Han nationality, born in 1942, native of Yanshi, Henan. His singing is resonant and sonorous, his gestures are free and open, and he makes appropriate use of register. His representative works include: 'The Interview That Never Took Place', 'Gunshots on the Plain' and others. Representative inheritor of Heluo 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:
- Lu Sibei 02-0721
- Zhang Huaisheng
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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