Taige
01 · Historical Records
Taige (raised pavilions) originated in god-welcoming festival processions in the Central Plains, later spreading gradually to the southeast coast and the northwest, where it flourished for a time in the Qing dynasty; in the course of transmission it combined with local conditions and formed distinct characteristics. The Gezili Xinzi is transmitted in Nanqiudong Village, Nanwang Town, Linzi District, Zibo City, Shandong Province; it originated in the Zhengde reign of the Ming dynasty and has a history of more than five hundred years.
02 · Core Techniques & Process
Taige, also known as taijiao (carried roles), taige (raised songs), gaotai (raised platforms), naoge, naoge (head pavilions) and gaozhuang (high costumes), is a folk parade performance form in traditional festival activities. In a taige performance, several children dress as characters from traditional opera and, following the plot, form striking tableaux fixed to the iron pillars and supports of a square pavilion, which bearers then carry forward. Traditional taige tableaux mostly draw on plays such as The Butterfly Lovers, Tianxian Pei (The Fairy Couple), Legend of the White Snake, Journey to the West, Zhaojun Goes to the Frontier, The Blue Bridge Rendezvous, The Yellow Crane Tower and The Fisherman's Revenge. The tableaux stand about 3 to 5 meters high; the pavilions range from three to five tiers, generally with one person on each tier, though some have four people on the bottom tier, five or six in the middle tiers and one on the top tier. In a taige parade, generally four pavilions are used, and at most six or even eight; each pavilion is carried forward by four or eight bearers. Taige fuses painting, opera, colored paper framing and paper sculpture into a single art form; its tableaux are elegant and its scenes spectacular, much loved by the broad masses, and it has flourished among the people for a long time without decline. The xinzi, also called “taige” or “gaotai”, is a traditional folk activity much loved by the people of Shandong. It uses iron supports to steady child performers dressed as various opera figures on tall poles or other shapes, so as to enact various stories. Because the iron support props them up from within like a lamp wick, it is called “xinzi” (wick); one xinzi generally presents one story episode. Seen from afar, the children performing on the xinzi appear to be suspended in midair, displaying a marvelous and thrilling quality. The Gezili Xinzi has wonderful conceptions, gorgeous decoration, distinctive settings and elegant composition; the potted flowers and landscapes and the colorful plants and utensils mounted on the xinzi achieve a degree of verisimilitude that could pass for the real thing. In performance, boys and girls stand lightly on a blooming lotus, a bowstring, a flowering branch or a bamboo flute — a wondrous sight that is beyond belief.
Named for the wick-like iron core
Also called raised pavilion or high platform, it is a popular traditional folk activity in Shandong.
One story per core
The iron frame supports from within like a wick, hence the name; each core carries one episode.
Children on lotuses, bows and flutes
Boys and girls stand lightly on an opening lotus, a bowstring, a spray or a bamboo flute.
Faux bonzai and props
Its arrangements are elegant and its potted plants and vessels are lifelike to the point of deception.
Five centuries in Nanchou East village
Rooted in Nanchou East village of Linzi District, it descends to the Ming Zhengde era and has run for over five centuries.
03 · Regional Records & Related Items
The Gezili Xinzi is based in the area of Nanqiudong Village, Nanwang Town, Linzi District, Zibo City, Shandong Province; following the old path of taige, the villagers have carried the iron core onward, and the stance of boys holding lotuses and girls standing on branches has become a style unique to this place. It arose in the Zhengde reign of the Ming dynasty and is more than five hundred years old; through continuous innovation by veteran performers, the Gezili Xinzi has gradually become a form of local cultural practice.
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04 · Cultural Value & Contemporary Safeguarding
With the acceleration of modernization, taige activities have gradually declined; in the countryside the craft of making taige faces a shortage of successors, and related rescue and preservation work is extremely urgent. In the course of transmission, through continuous innovation by veteran performers, the Gezili Xinzi has gradually become a form of local cultural practice. The Gezili Xinzi integrates folk dance, music, fine art and legend into one, and has certain research value in art studies, folklore studies and local history and culture.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Zhao Yunshan 03-1478
- Zhang Genzhi 03-1479
- Liu Wenchang 03-1480
- Zhong Yuwen 03-1481
- Fu Hengyu 03-1482
- Deng Junchao 03-1483
- Liu Duanfu 03-1484
- Li Ming 03-1485
- Peng Niangyao 03-1486
- Chen Fanxing 04-1976
- Tan Haobin 04-1977
- Gongsun Xin 04-1978
- Li Fuxian 04-1979
- Gao Yumin 05-3029
- Hao Laixi 05-3030
- Yao Ruming 05-3031
- Li Yangbo 05-3032
- Liu Qiyue 05-3033
- Liang Erdun 05-3034
- Hu Liangang
- Chen Wenshan
- Sun Kangfu
- Zhou Xingguang
- Huang Xuejun
- Zhang Guoqin
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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