Asier
01 · Historical Records
Asar has a long history. It was first developed in the form of court music, with professional musicians appointed at court and transmitted by court artists, and it had already appeared among the Mongol court music at the accession of Genghis Khan in 1206. In the Qing dynasty asar absorbed a great many musical elements from the various Mongol tribes and from other peoples, gradually became plural and popular, and spread widely among the people.
02 · Core Techniques & Process
Asar is a type of ensemble piece of instrumental music transmitted in the southern part of Xilingol League in the Inner Mongolia Autonomous Region, that is, within the territory of the former Chahar League; it is usually performed by a combination of Mongol bowed, wind and plucked instruments, and is used for relatively large ceremonial occasions, for sacrifices and rites, for weddings and banquets, and for events such as the Nadam. Xianghuang Banner of Xilingol League, Inner Mongolia Autonomous Region, is the core area of transmission of asar; asar is also found in the northeastern part of Ulanqab City, in Hohhot, in Ordos and in the Bashang plateau area of Zhangjiakou City, Hebei Province. It includes three transpositions, namely Chagan Asar (the normal mode), Sologai Asar (the contrary mode) and Modebe Asar (the B-flat mode). The second is Gule Chagan Asar. The third is Ming'an Asar. The fourth is Suluk Asar. The fifth is Taipusi horse-step Asar. The sixth is Taipusi plucked-and-flicked Asar. These asar each have their own characteristics and differ to some extent in melody. Asar is a folk ensemble piece peculiar to the Chahar Mongols, created out of life practice, and it has a deep foundation among the people. In the past almost every Chahar person could hum asar and whistle it on a small pipe. The Chahar region had no full-time ensembles in the early days; when needed, the musicians gathered together to rehearse in ensemble and then went to festive occasions such as the Nadam. At large celebrations, which asar opens the performance and which asar closes it is decided by the oldest performer or by the appointed music official. Asar is a form of ritual music; its music is solemn and elegant, and there are particular requirements concerning the occasions and times of performance, such as the seven prohibitions and the six circumstances deemed unsuited to playing. In performance, according to the character of the piece and the mood of the musicians — who often each display their own technique — a kind of "natural orchestration" is formed. Folk artists carry on and enlarge asar through oral teaching from master to apprentice and through mutual learning.
Aduqing Asar
One of the asar pieces collected.
Gule Chagan Asar
One of the representative asar pieces; each has its own characteristics and differs to some extent in melody.
Ming'an Asar
One of the representative asar pieces.
Suluk Asar
One of the representative asar pieces.
Taipusi Asar pieces
Representative asar pieces, named after Taipusi.
Three transpositions
Asar includes three transpositions, namely Chagan Asar (the normal mode), Sologai Asar (the contrary mode) and Modebe Asar (the B-flat mode).
Great Tent Banquet Song
The asar piece performed by the Xianghuang Banner Asar Art Troupe at the Fifth International Yayue presentation in 2013; it received high affirmation from experts and scholars at home and abroad.
03 · Regional Records & Related Items
The Chahar Mongols around Xianghuang Banner use asar as ritual music; the musicians band together temporarily according to the occasion, and at large celebrations which asar opens the performance and which asar closes it is decided by the oldest performer or by the appointed music official; in performance the musicians often each display their own technique, producing a sound that is solemn and elegant without losing its liveliness.
04 · Cultural Value & Contemporary Safeguarding
The asar pieces collected at present are the following: first, Aduqing Asar. Asar is a pearl in the treasure house of Mongolian music, and a vivid witness to the exchange and blending of court music, folk music and the music of many peoples; it reflects in an artistic way the character and temperament, the customs and etiquette, and the thoughts and feelings of the Chahar people; it has social and cultural value that cannot be underestimated, and it provides an important reference for research into ethnic music, ethnology and folklore. Airibu (official archival record of the associated inheritor): male, Mongol, born in December 1948, native of Taipusi Banner, Inner Mongolia Autonomous Region. Over nearly fifty years of working in arts and literature he has continually collected, organized and studied the art of asar. For many years he has regularly provided guidance and training to the professional arts troupes of Xilingol League and to community asar ensembles. Representative inheritor of the fifth national-level batch of the asar intangible cultural heritage project. In 2013 he led the Xianghuang Banner Asar Art Troupe in the Fifth International Yayue presentation, performing the asar piece "Great Tent Banquet Song"; the troupe showed the world the charm of the art of asar and received high affirmation from experts and scholars at home and abroad.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Airibu 05-2179
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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