Gong and Drum Art

01 · Historical Records

According to tradition, in 1647 CE the long-established prominent families of the surnames Jiang and Tang built the Dawan fair ground at the confluence of two small streams and invited the three local wind-and-percussion bands of the Jiang, Tang and Luo families to gather there and offer congratulations in turn; hence the name Xiaohe luogu, “small-river gong and drum”.

02 · Core Techniques & Process

Xiaohe gong and drum is a form of folk wind-and-percussion music made up of a combination of instruments such as the large and small suona, the large gong, the gengluo (a smaller gong), the small bowl, the horse gong and the basin drum. The history of Xiaohe gong and drum can be traced back to the late Ming and early Qing dynasties. Bands for happy occasions are of two kinds, “seated hall” and “processional”. “Seated hall” means that whenever a marriage or funeral is held, the band selects and plays the tune patterns conventionally associated with the occasion. “Processional” means that, following the wedding procedure, when the bride’s party sets out the band plays “Zao Shang Jiao”, and when the sedan chair is lifted it plays such tune patterns as “Niang Song Nü” and “Song Mei”. “Blowing the seated hall” centres on complete sets of tune patterns, while also playing single pieces in sad modes to intensify the atmosphere of mourning. “Funeral procession” is carried out in the open, with drums and music sounding together to show solemnity, so pieces that combine wind and percussion are commonly used. Xiaohe gong and drum has a great many pieces and tune patterns, its performing forms are varied, its techniques of blowing and striking are highly accomplished, the instruments are ingeniously matched, and complex rhythms alternate to express particular emotions — either stirring and merry or mournful and slow — giving the listener the aesthetic experience of folk drum music.

03 · Regional Records & Related Items

The local bands all follow set lines of transmission: beginning with the family genealogy of the Jiang clan’s “household music band” native to this place, they have been handed down generation by generation through “gongche notation” and the “langdang mode”. Xiaohe gong and drum performance can be roughly divided into music for happy occasions and music for funerals. Funeral bands are further divided into those that “blow the seated hall” and those that perform the “funeral procession”. Funeral bands are further divided into those that “blow the seated hall” and those that perform the “funeral procession”: “blowing the seated hall” centres on complete sets of tune patterns and also plays single pieces in sad modes to intensify the atmosphere of mourning; the “funeral procession” is carried out in the open, with drums and music sounding together to show solemnity, so pieces that combine wind and percussion are commonly used. When the bands perform, the instruments are ingeniously matched and complex rhythms alternate, either stirring and merry or mournful and slow, giving the listener the aesthetic experience of folk drum music.

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04 · Cultural Value & Contemporary Safeguarding

The history of Xiaohe gong and drum can be traced back to the late Ming and early Qing dynasties. According to tradition, in 1647 CE the long-established prominent Jiang and Tang families built the Dawan fair ground at the confluence of two small streams and invited the three local wind-and-percussion bands of the Jiang, Tang and Luo families to gather there and offer congratulations in turn; hence the name. The local bands all follow set lines of transmission: beginning with the family genealogy of the Jiang clan’s “household music band” native to this place, they have been handed down generation by generation through “gongche notation” and the “langdang mode”. Bands for happy occasions, meanwhile, are of two kinds, “seated hall” and “processional”. The history of Xiaohe gong and drum can be traced back to the late Ming and early Qing dynasties. According to tradition, in 1647 CE the long-established prominent Jiang and Tang families built the Dawan fair ground at the confluence of two small streams and invited the three local wind-and-percussion bands of the Jiang, Tang and Luo families to gather there and offer congratulations in turn; hence the name. The local bands all follow set lines of transmission: beginning with the family genealogy of the Jiang clan’s “household music band” native to this place, they have been handed down generation by generation through “gongche notation” and the “langdang mode”. Bands for happy occasions, meanwhile, are of two kinds, “seated hall” and “processional”. The bands take the large and small suona as their principal instruments, matched by gong, drum, nao and bowl, and pass their scores on by the solfège names of the “langdang mode”; they have been used generation after generation in wedding and funeral rites and in festival gatherings in the Yubei area.

05 · Associated Representative Bearers

Representative bearers recorded under this item, organized by national nomination batch:

• Liu Yaowen 03-0882
• Zhao Manzong 05-2134
• Zhang Shushe 05-2135
• Wu Mingchang 05-2136
• Yang Renhe 05-2137
• Liu Qingyun 05-2138
• Liu Zhen 05-2139
• Li Xingguang 05-2140
• Wangdaozhang 05-2141
• Cheng Qinxiang 05-2142
• Wang Guohai
• Xuezongfeng
• Hong Yuqing

06 · Authoritative Sources & Bibliography

1. Gong and Drum Art (Yubei, Chongqing) · China ICH Official Project Archive

Sources

China Intangible Cultural Heritage Network (ihchina.cn)

Read the official ihchina.cn record ↗