Xianzi Dance
01 · Historical Records
In May 2000, the Ministry of Culture officially named Batang County a 'Hometown of Chinese Folk Art'.
02 · Core Techniques & Process
The xianzi, also called 'xie', 'ye' or 'baye', is a kind of bowed string instrument peculiar to the Tibetan people, generally played by men. The Xianzi Dance, also commonly called 'xianzi', is a comprehensive Tibetan song-and-dance art that combines singing, dancing and music to the accompaniment of the xianzi. In performance, men play the xianzi and women dance with colourful sleeves; as the rhythm of the xianzi changes, both the singing and the dancing take many different forms. The lyrics of the xianzi are mostly about welcoming guests, meeting, praise, affection, farewell and good wishes; there are many tunes, rich lyrics and varied dance steps. While dancing, the men's and women's groups each form a semicircle, at times closing into a circle and at times dispersing, singing as they dance; the men's dancing emphasises the boots and the stamping, showing a bold and rugged beauty, while the women bring out the gentle and expansive beauty of the long sleeves. In Tibetan, 'xianzi' is called 'gaxie', also known as 'xie', 'ye', 'baye' and the like, meaning round dance; it is one of the three great genres of Tibetan dance. It is popular in eastern Tibet and in the Tibetan-inhabited areas of Yunnan, Sichuan and Qinghai, and the xianzi dance of Batang in Sichuan is the most famous. Batang County lies at the junction of the three provinces (regions) of Sichuan, Yunnan and Tibet. This area belonged in antiquity to the Bailang Kingdom, whose 'Bailang songs' were ceremonial song-dances combining poetry, music and dance; the Batang xianzi is a legacy of that tradition. After more than a thousand years of development it has become a folk song-and-dance form greatly loved by the Tibetan people. The Batang xianzi is a beautiful and lyrical Tibetan dance characterised by 'long sleeves that dance gracefully'; in performance, several men holding and playing the bowed string instrument 'biwang' (a huqin) lead the dance at the head of the procession. The remaining dancers sing and dance along with them. On every festival and happy occasion, after gatherings, outings in the open country and work in the fields, people assemble in a 'linka' (a clearing in the woods) or on the open ground to dance the xianzi; men and women alike take part, with no limit on numbers. Xianzi music is generally divided into prelude, interlude and coda; the music is gentle yet strong, beautiful and lyrical, and the rhythm is rich in dance character. The Batang xianzi is the crystallization of the wisdom of the people of Batang.
Biwang, the Tibetan fiddle
The Tibetan fiddle of the dance, played by men who lead the line while playing, the others answering in song and step.
Three steps one lift, one step one lean
The basic rhythm of three steps with a lift and one with a lean, combined with sunken chest, trembling knees and sleeve work.
The legacy of the White Wolf songs
The region once belonged to the kingdom of White Wolf, whose ceremonial songs uniting poetry, music and dance are seen as the ancestor of the Batan dance.
Prelude, interlude and coda
The music falls into prelude, interlude and coda, lyrical yet firm in rhythm, setting lyrics of welcome, meeting, praise and farewell.
Men's boots, women's sleeves
Men's style centres on the boot and stamping, the women's on long sleeves flowing gently.
03 · Regional Records & Related Items
The Xianzi Dance is distributed in eastern Tibet and in the Tibetan-inhabited areas of Yunnan, Sichuan, Qinghai and other places. 'Three steps and one lift, one step and one lean' is the basic rhythmic characteristic of the Batang xianzi dance; its contracted chest, trembling knees and the circling, supporting, lifting and covering of the long sleeves form a regional dance character quite unlike any other. The Batang xianzi takes the county town as its centre and spreads to the villages and schools of the townships throughout the county. At festivals and gatherings people often form circles to dance in a 'linka' (a clearing in the woods) or on the open ground; one group finishes singing and another takes up the song, often continuing through the night until dawn. The huqin 'biwang' held by the lead dancer is mostly made locally; its tone is clear and far-reaching, answering the high-register singing of the singers.
Other submitting regions for the same item: Xianzi Dance · Xianzi Dance.
04 · Cultural Value & Contemporary Safeguarding
The Batang Xianzi Dance embodies a weighty national culture and reflects a rich ethnic character; both its academic value and its artistic value are high. With several thousand tunes, the Batang xianzi has become the greatest treasure of Tibetan folk music and the 'living fossil' of the best-preserved Tibetan music; its music and lyrics have already permeated the other forms of Tibetan literature and art. Protecting the Batang xianzi is of great significance both for protecting Tibetan song-and-dance art and for researching Tibetan culture.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Cirenwangdui 02-0367
- Jiangcuo 02-0368
- Zhaxiangjiang 05-2228
- Wangzhaxi
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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