Pashandiao
01 · Historical Records
The artistic style of Pashandiao derives from the ancient manner, and its source can be found in the Shijing (Classic of Poetry); at the same time it is deeply influenced by folk songs of the Northern Dynasties such as the Chile Song and the Ballad of Mulan. The precise time of the emergence of Pashange can be traced to the Qianlong and Jiaqing reigns of the Qing dynasty; records state that at that time the Suiyuan city general opened up land for reclamation and recruited large numbers of Han immigrants from Shanxi, Hebei, Shaanxi and Henan. During the Xianfeng reign, years of famine and war drove large numbers of Han people from Shanxi, Shaanxi and other places to settle around Daqingshan.
02 · Core Techniques & Process
Pashandiao is also called “Pashange” or “Shanqu”; it is a short-tune folk song current in the central and western parts of Inner Mongolia. The immigrants brought the folk songs of their own hometowns to Inner Mongolia; through long exchange and collision they eventually formed Pashandiao, which fuses the characteristics of the folk songs of Hebei, Shanxi, Shaanxi and Shandong and absorbs musical elements of the Mongol, Hui and Manchu peoples. Pashandiao is divided into two types, mountain Pashandiao and plain Pashandiao; the former is represented by Wuchuan and the latter by the Hetao area. Pashandiao is also divided into indoor and outdoor forms; outdoor Pashandiao is mostly sung by men and is chiefly labour songs, social songs, life songs and love songs, while indoor Pashandiao is mostly sung by women and is chiefly life songs, love songs and songs of gratitude and resentment. The music is mostly in the zhi, shang and gong modes, and generally uses a period structure of two phrases, the second phrase being in most cases a varied repetition of the first. Metre is mainly duple or quadruple, though triple metre and changing metre are also occasionally found. Besides the common pentatonic melodies, six-note and even seven-note scale melodies can also be heard in Pashandiao. Its artistic style is mostly high-pitched and rugged, broad and unrestrained, and it is good at employing devices such as likening and evocation, exaggeration and parallel enumeration. Pashandiao is rich in content; historical legend, the life of the people, love songs and the affection between soldiers and civilians are all common subjects. Its representative pieces include Xiangqinqin (Thinking of the Beloved), Yangpoli Bao Chai Liao Gēge (The Old Woman Gathering Wood Calls Elder Brother) and Dahei Niu Gengdi Li Huangtu (The Big Black Bull Ploughing the Yellow Earth). In the course of its long development many outstanding Pashandiao singers have appeared. Pashandiao is a verbal art form created jointly by the working people of the Mongol and Han peoples; it has played an important part in promoting the flourishing of folk culture in the Inner Mongolia region and the unity of the ethnic groups.
Xiangqinqin (Thinking of the Beloved)
One of the representative pieces of Pashandiao; the representative repertory of the genre includes Xiangqinqin (Thinking of the Beloved), Yangpoli Bao Chai Liao Gēge (The Old Woman Gathering Wood Calls Elder Brother) and Dahei Niu Gengdi Li Huangtu (The Big Black Bull Ploughing the Yellow Earth).
Yangpoli Bao Chai Liao Gēge (The Old Woman Gathering Wood Calls Elder Brother)
One of the representative pieces of Pashandiao; the representative repertory of the genre includes Xiangqinqin (Thinking of the Beloved), Yangpoli Bao Chai Liao Gēge (The Old Woman Gathering Wood Calls Elder Brother) and Dahei Niu Gengdi Li Huangtu (The Big Black Bull Ploughing the Yellow Earth).
Dahei Niu Gengdi Li Huangtu (The Big Black Bull Ploughing the Yellow Earth)
One of the representative pieces of Pashandiao; the representative repertory of the genre includes Xiangqinqin (Thinking of the Beloved), Yangpoli Bao Chai Liao Gēge (The Old Woman Gathering Wood Calls Elder Brother) and Dahei Niu Gengdi Li Huangtu (The Big Black Bull Ploughing the Yellow Earth).
03 · Regional Records & Related Items
The lyrics of Pashandiao are short and succinct, making frequent use of reduplicated words of the local dialect; their length is not fixed, and literal and figurative expressions alternate.
Other submitting regions for the same item: Pashandiao.
04 · Cultural Value & Contemporary Safeguarding
At present the living environment of Pashandiao is gradually changing, and many excellent Pashandiao songs are on the verge of being lost; they urgently need to be collected and protected.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Ma Chengshi 05-2102
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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