Hancheng Yangge Dance
01 · Historical Records
Hancheng Yangge is a comprehensive form of quyi that fuses spoken narration, folk song and dance into one, with the spoken-and-sung narration governing the whole performance. It is distributed mainly in Hancheng, Shaanxi Province and the surrounding area. It took shape during the Tongzhi and Guangxu reigns of the Qing dynasty and has a history of more than 150 years to the present. In the second year of the Guangxu reign of the Qing dynasty (1876), the Hancheng Yangge artist Han Minqing once led a yangge troupe to perform in Beijing, and for a time became famous throughout the capital, greatly extending the influence of Hancheng Yangge. From the late 1940s, Hancheng Yangge began to decline; by the 1960s and 1970s its performances had already become rare, and today it can be found only in a few individual villages in the mountainous areas.
02 · Core Techniques & Process
Hancheng Yangge has a fixed performing format. The performance opens with the chou role taking the stage to 'pay homage to the audience' (baichang), singing a 'si-liu tune' to express self-deprecation; it then proceeds to 'invite the stage' (qingchang), that is, inviting the dan role known as 'baotou' to appear. After Baotou enters, she sings the 'kaimen diao' (opening tune) to make her appearance, and next the chou role recites a passage praising and criticising the dan role, a set piece called 'shu hua' (counting flowers). The chou role then sings the 'si-liu tune' to express modest refusal, while Baotou takes it up by singing the 'si-liu kaimen tune', an exchange called 'tui jie' (offering and accepting). The main piece (zhengqu) is generally sung in alternation by the chou and dan roles, narrating the story plot. At the exit, the chou and dan roles sing the 'si-liu tune' to express self-deprecation and lead into the next item. The performance of the dan role is characterised by bewitchment, cleverness, sprightliness and charm; its movements are enchanting and gracefully varied. The chou role, by contrast, is vigorous and valiant, with a free-and-easy gait, frequently stamping the feet and thrusting out the legs. The two combine hardness and softness, producing a sharp contrast. The vocal styles and tunes of Hancheng Yangge belong to a linked suite of tune patterns, of which 117 survive today. Its dance carries a strong local flavour, is lively and vigorous, has clearly layered levels, and is rich in variation. Some items, in their costume and performance, carry certain characteristics of Chinese opera, and are therefore popularly known as 'duidui xi' (pair-and-pair plays). The traditional performing repertoire of Hancheng Yangge is quite rich, including works on historical legends, myths and legends, folk customs and folk tales.
The opening protocol of Hancheng yangge
The fixed opening: the clown bows in with a "four-six" song, invites the dan called baotou on stage, teases her in the "counting flowers" episode, and the two exchange alternate four-six airs.
The baotou and the clown
The dan's performance is seductive, deft and coy while the clown is vigorous and dashing with stamping kicks, setting up a strong contrast.
One hundred and seventeen linked tunes
Its arias form a linked-tune system of 117 pieces, while the dance remains earthy and brisk, with clown and dan singing the main plot in alternation.
Han Minqing's 1876 Beijing tour
In 1876 the singer Han Minqing took a yangge troupe to Beijing, where the performance caused a stir and spread the genre's fame.
03 · Regional Records & Related Items
Hancheng Yangge is distributed mainly in Hancheng, Shaanxi Province and the surrounding area. Performances are organised on a village basis, and are most common during the Spring Festival, at temple fairs and in prayer-for-a-good-harvest rites. In the second year of the Guangxu reign of the Qing dynasty (1876), the artist Han Minqing once led a yangge troupe to perform in Beijing and for a time became famous throughout the capital. From the late 1940s onward this form of quyi began to decline; by the 1960s and 1970s performances were already rare, and today only a few individual villages in the mountainous areas retain complete troupes and the full performing format. According to the project archive, 127 repertoire items have now been excavated and collated locally, and 96 script volumes have been published.
04 · Cultural Value & Contemporary Safeguarding
A total of 127 repertoire items have been excavated and collated, and 96 script volumes have been published. It can be said that Hancheng Yangge has entered a critically endangered state and may vanish at any moment. A protection plan is urgently needed, together with rescue and support and help in transmission.
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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