Nuohei Village in Shilin County, Kunming
The Nuohei Yi Ethnic Culture Protection Area is a cultural space in Shilin Yi Autonomous County (石林彝族自治县), Kunming, Yunnan Province, and is recognized as one of Yunnan’s provincial-level intangible cultural heritage sites. Nuohei Village (糯黑村), located in Guishan Township (圭山镇) of Shilin County, has a history of over 600 years and is a well-preserved settlement of the Yi people, particularly the Sani (撒尼) ethnic group. The village is renowned for its unique “stone village,” with most of its traditional homes built from layered rocks, making it an exceptional example of the Karst topography in central Yunnan. The village is home to 272 households, with a population of 1,054, 99.8% of whom are ethnic Sani Yi people.
In recent years, Nuohei Village has capitalized on its cultural and natural resources by developing a unique path of rural revitalization through a model that combines “entrepreneur-driven development, stone-based cultural heritage, and the integration of culture and tourism.” This approach has helped the village thrive, making it a destination with a distinct charm. Currently, the village operates eight agritourism guesthouses, 24 rooms in homestays, with 80 beds, receiving around 200,000 visitors annually and generating 3.4 million RMB in tourism revenue. The village has been recognized as a National Key Village for Rural Tourism, a Traditional Chinese Village, a National Ecological Village, and more.
Project Name: Nuohei Yi Ethnic Culture Protection Area
Certification Level: Provincial-level
Project Category: Cultural Space
Certification Date: 2006
Certification Batch: First Batch
Application Area/Unit: Shilin Yi Autonomous County, Kunming, Yunnan, China
Country: China
Introduction to Nuohei Village
Nuohei Village is situated about 25 kilometers east of the Shilin Scenic Area (石林风景名胜区) in Kunming. The “Jiu (Xiang) Shi (Lin) A (Lu Gu Dong)” tourist route passes through the village, and the area belongs to Guishan Township (圭山镇) of Shilin County. The village is divided into two natural settlements: Big Nuohei and Small Nuohei. Located near mountains and water, the village offers a scenic and peaceful environment. The average altitude is 1,985 meters, covering an area of approximately 100 square kilometers, with about 86% of the land covered by forest, and it features typical Karst landscape.
Historical Background
Nuohei Village was founded in 1398, making it over 610 years old. It is a traditional settlement of the Sani Yi (撒尼彝族) people and was historically part of the Luliang Prefecture (陆凉州), which was an important stop on ancient trade routes. The village’s stone houses and stone-paved roads are representative of the unique architecture of the Karst region and have been preserved for centuries. During the turbulent period from 1816 to 1949, the villagers, facing warlords and bandits, built stone walls and houses from locally sourced materials to protect themselves from external threats. This stone building style has persisted to this day, becoming a hallmark of Sani architectural art and its harmonious integration with the local environment.
Cultural Features
Originally known as “Tengzi Shao” (藤子哨), the name “Nuohei” comes from the Yi language, where “Nuo” means “monkey” and “hei” refers to a pond, hence the full meaning is “monkey pond.” The Sani people (撒尼人) have a rich history and culture, with traditional stone houses that are over a century old. The village is famous for its well-preserved Qing Dynasty (清代) buildings, including the stone walls that surround the village, as well as its distinctive stone fortress-like structures on the surrounding hills. The village is renowned for its folk culture, which has been showcased in the famous film Ashima (阿诗玛), where the colorful traditional attire of the Sani women is prominently featured.
The traditional attire includes a flower cap (used to identify a woman’s status) and intricate embroidery, with techniques such as flower stitching, threading, and knotting that date back to the Ming (明代) and Qing (清代) dynasties. The Sani people also practice ancestor worship and nature worship, with numerous annual ceremonies led by shamans known as “Bimo” (毕摩) (typically male) and “Shima” (筮玛) (usually female). These rituals include offerings to ancestors, natural spirits, and deities.
Sani writing (撒尼文字), used mainly by the Bimo and cultural researchers, is composed of characters that are often pictographic or ideographic, and it remains in use by only a small number of people. The village’s folklore includes narrative epics like Guishan Rainbow (圭山彩虹) and Ashima (阿诗玛), as well as diverse forms of folk music, such as wedding songs, narrative tunes, and work songs. Common musical instruments include the mouth harp (口弦), bamboo flute (竹笛), and large three-stringed instrument (大三弦). Traditional dances such as the big drum dance (大鼓舞) and lion dance (狮舞) are an important part of cultural celebrations.
The Sani people also engage in various traditional sports, such as wrestling (摔跤), bullfighting (斗牛), and other competitive games. Major festivals include the Spring Festival (春节), Qingming Festival (清明节), Mid-Autumn Festival (中秋节), Dragon Boat Festival (端午节), Torch Festival (火把节), and the Miji Festival (密枝节), all of which feature vibrant performances and rituals.
Key Features of Nuohei Village
Nuohei Village is located in a karstic region, and the villagers have adapted the natural stone resources to build their homes. The unique landscape has earned the village the nickname “the village made of solidified stones.” Almost all the houses are constructed from stone, blending the Sani architectural style with the environment. Nuohei’s picturesque scenery and well-preserved traditions make it an attractive destination for those seeking to experience the cultural richness and natural beauty of Yunnan’s Yi people.
For more information, visit Nuohei Yi Ethnic Culture Protection Area.
House Painting of Bai Ethnic Minority in Dali 大理白族民居彩绘
http://www.ynich.cn/view-ml-11111-1144.html
Guansuo Opera (关索戏), also known as “Playing Guansuo” (玩关索), is an ancient form of Nuo opera (傩戏) that survives exclusively in Xiaotun Village (小屯村), Yangzong Town (阳宗镇), Chengjiang County (澄江县), Yunnan Province (云南省). With a history spanning over 300 years, it originated from ancient ritual performances meant to ward off evil spirits and plagues, gradually evolving into a form of theater that entertains both deities and people.
Historical Origins
The origin of Guansuo Opera is closely tied to Guansuo (关索), a legendary general of the Shu Han state during the Three Kingdoms period. Although there are no definitive historical records, local legends suggest that the opera existed during Zhuge Liang’s (诸葛亮) Southern Campaign. It became popular before the Kangxi period of the Qing Dynasty and was initially performed as a way for the villagers of Xiaotun (小屯村) to seek peace in times of hardship by dramatizing stories of the “Five Tiger Generals” (五虎大将) of Shu.
Performance Style
Guansuo Opera is known for its unique performance style—there is no fixed stage, no makeup, and it is not limited by time or location. Actors wear masks while singing and dancing, preserving the ritualistic elements of ancient Nuo performances. Before each performance, a ritual is held to worship at the Temple of the Music King (乐王庙), and only stories from the Three Kingdoms are staged. There are three main role types: sheng (生), dan (旦), and jing (净). Interestingly, the jing roles (such as Bao Sanniang and Princess Baihua) are all portrayed by men in female costume. No facial paint is used—only symbolic masks.
Ritual Procedures
Guansuo Opera follows a fixed set of rituals and procedures:
- Worship of the Medicine King (祭药王): Held annually on an auspicious day in the 12th lunar month at Lingfeng Temple (灵峰寺), this ritual honors deities such as the Five Manifest Spirits (五显灵官).
- Rehearsal and Preparation: After the ritual, actors begin rehearsals leading up to New Year’s Eve. On that night, they bathe at Lingfeng Temple and stay there, abstaining from meat.
- Village and Household Performances: Starting on the first day of the lunar new year, performers tour the village in what is called “treading the village” (踩村); when passing through streets, it’s called “treading the streets” (踩街); and when performing in homes by invitation, it’s called “treading the households” (踩家).
- Formal Performance: Each show begins with Appointing Generals (点将), depicting Liu Bei (刘备) and Zhuge Liang assigning titles. This is followed by martial plays, often duets involving combat.
- Farewell to Deities and Sending off the Medicine King: At the end of each day’s performance, a farewell ritual is held. On the 16th day of the first lunar month, the “Sending off the Medicine King” (送药王) ceremony marks the end of the festivities.
Vocal Style and Accompaniment
Guansuo Opera features a complex vocal system with no string instruments—only percussion, giving the music a strong rhythmic character. Common tune types include long plate (长板), short plate (短板), messenger plate (报信板), seven-character plate (七字板), and broadsword tune (大刀腔). Gongs and drums direct tempo and key changes. Singers are not bound by strict pitch or rhythm, so even the same melody may sound different from one performer to another.
Masks and Costumes
Actors wear masks during performances, symbolizing divine entities. The roles are categorized into sheng, dan, and jing, with jing roles typically played by men dressed as women. Each role is distinguished through its specific mask and costume.
Cultural Significance
Guansuo Opera is a valuable resource for studying the development of ancient Chinese drama. It preserves the essence of original Nuo rituals while incorporating regional cultural elements, making it a key part of Yunnan’s Nuo heritage. In 2011, Guansuo Opera was listed as a National Intangible Cultural Heritage, becoming a vital part of Chengjiang County’s folk culture.
Modern Inheritance
In recent years, Chengjiang County (澄江县) has promoted the preservation and development of Guansuo Opera through cultural festivals and public performances. These efforts have brought the art form into the public eye, revitalizing this ancient tradition with new energy.
Guansuo Opera is a cultural gem unique to Xiaotun Village (小屯村). With its distinctive performance style and deep cultural roots, it continues to attract growing attention and admiration.
For Chinese version please go to:
http://www.ynich.cn/view-ml-11111-1145.html
Duangongxi in Zhaotong City 昭通市端公戏
Duangongxi: Shamanistic Plays
http://www.ynich.cn/view-ml-11111-1146.htmlzh
Huadeng Opera in Midu County, Dali 弥渡花灯
Huadeng: Festive Lantern
http://www.ynich.cn/view-ml-11111-1147.html
Overview of Songming Huadeng (嵩明花灯)
Songming Huadeng (嵩明花灯) is one of the key regions in Yunnan where the traditional Huadeng Opera is preserved and performed. The cultural heritage of Songming County (嵩明县), located in Kunming, is marked by a long-standing tradition of Huadeng performances, which are a type of folk opera often associated with local festivals and celebrations.
Historical Significance and Evolution
Historically, Songming Huadeng was a vibrant part of local culture, with over 200 villages once engaging in Huadeng activities. In addition to the Lantern Festival (元宵节) performances, Songming Huadeng also thrived in various folk temple fairs (庙会), and the performance period could last anywhere from one to two months.
The style of Huadeng in Songming is noted for its diversity. The performances are typically divided into two parts:
- “Tuanchang” (团场): The opening program, which is characterized by a lively and festive atmosphere, typically includes paired male and female performers engaging in song and dance.
- “Zuochang” (坐场): This section features smaller plays, songs, and dances, with a focus on smaller operas or “xiao xi” (小戏).
Unique Features and Performance Styles
Songming Huadeng is particularly known for its xiao xi (小戏), or small operas, which include approximately 70 different plays. Among these, the “Jiang Kou Xi” (讲口戏) style is unique to the region and features dialogues without musical accompaniment, which sets it apart from Huadeng traditions in other regions.
In the 1950s, the “Tuanchang” portion of Songming Huadeng was adapted by the General Political Department’s Song and Dance Troupe into the “Hong Deng Wu” (红灯舞) performance, which was showcased at the “World Youth Festival” and gained national recognition.
Although the tradition faced setbacks after the 1950s, during which Huadeng performances were disrupted for years, the tradition saw a revival in the 1980s. However, with the passing of several skilled traditional performers, some plays, tunes, and performance styles have slowly faded away.
Notable Performances and Cultural Influence
Some of the more well-known Huadeng tunes and performances from Songming Huadeng, such as “Songming Picking Tea” (嵩明采茶), “Wang’s Water Carrying” (王氏挑水), and “Eagle Spreads Its Wings” (老鹰亮翅), have spread across Yunnan, becoming widely recognized and frequently performed by various Huadeng troupes throughout the province. Despite the challenges faced by the tradition, Songming Huadeng remains a significant cultural expression and an important aspect of Yunnan’s rich folk art heritage.
For further details, visit Huadeng Opera in Songming County.
Huadeng Opera in Yuanmou County, Chuxiong 元谋花灯
Huadeng: Festive Lantern
http://www.ynich.cn/view-ml-11111-1149.html
Overview of Yao’an Huadeng (姚安花灯)
Yao’an Huadeng (姚安花灯), located in Chuxiong Yi Autonomous Prefecture (楚雄彝族自治州), is another major hub for the preservation and performance of Huadeng Opera in Yunnan. This form of folk opera is integral to the cultural life of the local Yi (彝族) and Han (汉族) communities. The tradition of Huadeng Opera in Yao’an is celebrated for its colorful performances and vibrant role in local festivals, particularly during the Lantern Festival (元宵节) and other significant cultural events.
Historical and Cultural Importance
Yao’an Huadeng has a rich history and has long been a form of entertainment and artistic expression for local communities. Performances often involve intricate dances, songs, and dramatic skits that reflect the daily life, myths, and legends of the Yi people. The area is home to a diverse range of Huadeng performances that vary in style and theme, from traditional village celebrations to more formalized stage productions.
Yao’an Huadeng is known for its distinctive use of elaborate costumes, including intricately designed lanterns and props, that enhance the spectacle of the performance. These performances are characterized by the use of shadow puppetry, elaborate dance sequences, and expressive music.
By preserving these ancient traditions, both Songming County and Yao’an County continue to keep the rich cultural heritage of Yunnan alive, providing locals and visitors alike with an opportunity to experience the dynamic performances of Huadeng Opera.
http://www.ynich.cn/view-ml-11111-1150.html
Jianshui Flower Lantern is a unique form of folk art from the Jianshui area in Yunnan. It combines the charm of Han lanterns with the musical style of the Yi people, which is why it is also known as the “Yi Flower Lantern.” This art form has a long history dating back to the Ming and Qing dynasties when small tunes were introduced into southern Yunnan. Over time, it evolved into a distinctive performance system with its own artistic style.
Artistic Characteristics
-
Fusion of Diverse Cultures:
The Jianshui Flower Lantern has absorbed various elements from both Han and Yi traditions, including songs, dances, and languages. This fusion results in performances characterized by dynamic rhythms, a wide vocal range, and clear melodies. Traditional instruments such as the four-stringed instrument, bamboo flute, and erhu play a major role in creating its local flavor. -
Rich Repertoire:
The traditional repertoire of the Jianshui Flower Lantern includes over 30 pieces, such as “Beating the Flower Drum,” “Fishing,” “Straw Beating,” “Mending the Pot,” “Jade Fishing Bottle,” “Conqueror Descends the Mountain,” “Zhang San Kills the Sheep,” “Gambling Persuasion,” “Noisy Town,” “Old Jia Divorces His Wife,” and “Han Xiangzi Ferrying His Wife.” These pieces not only reflect the daily life and sentiments of the people but also express unique perspectives on love, labor, and social life.
Cultural Inheritance
-
Historical Origins:
The Jianshui Flower Lantern has been popular in local villages since the Ming and Qing dynasties. Lantern masters passed down traditional tunes and theatrical forms through generations, both through spontaneous folk performances and through systematic refinement and innovation. Specific rituals, such as the “Invitation of the Lantern God” held on the fifteenth day of the lunar month, underscore the lantern’s important role in local folk beliefs.Current Status of Inheritance:
Today, the Jianshui Flower Lantern remains vibrant in rural communities and festive events. Many local performance troupes and cultural heritage practitioners continue to teach and pass on the art, ensuring that this traditional form remains a vital part of the region’s cultural heritage.
http://www.ynich.cn/view-ml-11111-1151.html
Introduction
Dian Opera, also known as Yunnan Opera, is a traditional form of local opera originating from Yunnan Province in China. It evolved from various regional tunes and arts introduced during the late Ming Dynasty and the Qing Dynasty. By blending different musical influences, Dian Opera developed a unique style that resonates deeply with the local culture of Yunnan.
In 2008, Dian Opera was recognized as an intangible cultural heritage of China and was officially listed on the second batch of national intangible cultural heritage lists by the State Council.
Historical Origin
Early Development
Dian Opera’s roots can be traced back to the late Ming Dynasty to the Qianlong Period of the Qing Dynasty. During this time, various operatic styles such as Silk String, Xiangyang, and Huqin were introduced from other regions into Yunnan. These influences came from:
- Silk String: Originated from Qin Opera.
- Xiangyang: Derived from the Xianghe School of Han Diao.
- Huqin: Came from Hui Diao.
These styles combined with local folk art, dialects, and musical traditions to form a distinct style of opera. By the Qing Dynasty, these tunes had spread throughout Yunnan, including parts of Sichuan and Guizhou, and were integral to the local operatic scene.
Prosperity and Decline
Dian Opera flourished in Yunnan during the late Qing Dynasty. Many local troupes emerged, and the art form became deeply rooted in rural communities. However, following the political turmoil of the 1911 Revolution and the subsequent period of war, Dian Opera faced significant challenges. During the War of Resistance Against Japan, many artists fled or were oppressed, leading the opera to near extinction by the founding of New China in 1949.
Revival After 1949
After the establishment of the People’s Republic of China, Dian Opera experienced a revival. The state-run Yunnan Opera Troupe was established, and numerous artists were recruited, trained, and supported to rejuvenate the art form. The opera’s performances and traditions were documented and preserved, helping it regain its prominence in Yunnan and beyond.
Artistic Characteristics
Performance and Style
Dian Opera is known for its vivid portrayal of characters and its local flavor. It blends influences from Hui, Han, and Qin Opera while incorporating unique elements from Yunnan’s diverse ethnic groups. The opera’s performances often feature a deep connection to daily life, with characters displaying emotions and actions that resonate with the audience’s experiences.
Key features include:
- Complex Emotional Expression: For example, in Li Shaobai’s Trial of Pan Hong, Pan Hong’s inner turmoil is reflected in subtle physical movements like the shifting of his veil cap.
- Character-Driven Drama: The opera excels in portraying the psychological depth of characters, such as the portrayal of loyalty, intelligence, or resentment through specific actions or dialogues.
The opera also uses vivid, colloquial language, often in the style of local folk songs. This makes the performances more accessible and relatable to a wide audience.
Music and Vocal Techniques
Dian Opera incorporates various musical tunes and vocal techniques that are central to its identity:
- Silk String Tune: Originating from Qin Opera, this tune is versatile, used in both comedic and tragic scenes, and often characterized by sweet or sorrowful melodies.
- Xiangyang Tune: A lively and lighthearted melody with a smooth, flowing rhythm, often used to express joyful or humorous situations.
- Huqin Tune: Derived from Hui Opera’s Erhuang, this style is more solemn and melancholic, often used in serious or tragic performances.
Other miscellaneous tunes include “seven and a half sentences,” “cylindrical cavity,” and “lessons,” which bring additional layers of complexity and richness to the performances.
Instruments
The music of Dian Opera is supported by a variety of instruments, including:
- Silk String Instruments: Primarily the saw-piano (similar to the Qin Opera’s two-strand string instrument).
- Huqin: A stringed instrument used in Huqin-style performances.
- Percussion: Including small and large drums, gongs, cymbals, and various other traditional percussion instruments.
These instruments, combined with the operatic singing, help create a unique auditory experience for the audience.
Classification of Dian Opera
Yiliang Dian Opera
The history of Dian Opera in Yiliang County dates back to the late Qing Dynasty. A local Yunnan Opera troupe was formed here in the early 20th century. Over time, Yiliang became an important center for Dian Opera, with professional troupes emerging in the 1950s. By 1959, the Yunnan Opera Troupe in Yiliang County was established, and the area continued to foster talented performers.
Throughout the 20th century, the Yiliang Opera Troupe created numerous performances, including historical plays and folk tales, winning accolades in regional festivals.
Fengqing Dian Opera
Fengqing County in Lincang City has a long-standing history with Dian Opera, with performances dating back to 1906. During the early 20th century, local residents formed their own opera societies, and the performance of Dian Opera was widely embraced. In 1953, the Fengqing Dian Opera Troupe was established, which later became instrumental in advancing the art form.
Fengqing’s troupe became known for its innovation in musical styles, incorporating new elements like “anti-silk string” and “anti-Erhuang,” which combined different regional styles. Many original local dramas have been created, winning accolades at provincial festivals.
Preservation and Modern Challenges
Despite its rich history and cultural significance, Dian Opera faces challenges due to changing social conditions and cultural preferences. The rise of modern entertainment and shifts in audience tastes have led to a decline in performances, especially in rural areas. However, efforts to protect and revitalize the opera have been ongoing.
In recent years, initiatives like the Dian Opera Flower Lantern Art Week and the establishment of awards such as the Wenhua Award and Plum Blossom Award have helped to preserve and promote Dian Opera. This ensures that the art form continues to thrive in the modern era, even as it adapts to contemporary tastes.
Conclusion
Dian Opera, with its rich history, unique artistic elements, and cultural significance, remains an essential part of Yunnan’s artistic heritage. While it faces challenges, efforts to preserve and revitalize this form of opera continue to ensure its place in China’s diverse cultural landscape.
For further details, you can explore Dian Opera through its online resources at Yunnan Dian Opera.
Yi Opera 彝剧
Yi Opera: Opera of Yi Ethnic Minority
http://www.ynich.cn/view-ml-11111-1153.html
The Dali Baiju Opera (Bai Opera 白剧)
The original name of the Baiju Opera was the Cuicui Tune. It is very popular throughout the village of the Baizhu Nationality. The ancient performance stage for the “Cuicui Tune” are still existing in the larger villages. The Cuicui Tune has a special artistic style, and its words are a combination of Bai dialect and the Chinese language. Most use the rhyme pattern of Baizu Nationality folk songs of seven seven seven five. The feelings of the Baiju Opera is natural and humorous. The singing tune is divided in 9 Bans and 18 Tunes and the actors are divided as Sheng, Dan, Jing and Chou. There are fixed face-dresses for actors. The performance patterns blend with those of Dian Opera and the Flower Lattern. There are no accompanying music for the singing and the passage music is somewhat long, played by Suo Na. Becaue the performers were all the farmers and the performances were spare time activities, so the stage words of many performers were given to the audiences during the course of the passage of the Suona music played by the opera teachers. The themes of this type of opera included historic opera reflecting the life of the Baizu Nationality, such as “Du Chao Xuan”, “the Firing Songming Building” and “Zhangzi Ru Beans”, and also those transplanted from the Dian Opera, such as “three Heroes Fighting Lubu”, “Wu Tai Meeting Brothers” and “Lance Fighting Little Liang King”.
Bai Opera: Opera of Bai Ethnic Minority
There were no professional organizations for the “Cuicui Tune”, and there were only seasonal self-playing and self-enjoying amateur organizations. After the foundation of the People’s Republic of China, artists made efforts to straighten out and dug out the Baizu Nationality Opera of “Cuicui Tune”, and established professional organizations and made the opera into a national opera. In 1962, the Dali “Cuicui Tune” Troupe participated the Demonstration Fair of the National Opera of Yunnan Province, performing the traditional “Cuicui Tune” opera of “Firing Milling Housing” and “Dou Yi Xia Ke”, etc. in Feb. of the same year, the first professional Baiju Troupe in the history of the Baizu Nationality was formally founded, and the actors in the “Cuicui Tune” Troupe were all combined into the Baiju Troupe of the Dali Baizu Nationality Autonomy.
The Dali Da Ben Tone
The Da Ben tone was a folk music art in the villages of the Dali baizu Nationality. It was usually performed by one actor singing and one actor playing accompanying music with major 3 chord. The contents of the singing have a somewhat complete story, singing voice, tone, singing words and rhyme, and the characteristics are all unable to be separated from the folk songs and music of the Baizu Nationality. The form of the singing words of the Da Ben Tone was called “the Form of Mountain Flower”, and this form was a unique folk word form of the Baizu Nationality. The rhymes of the Da Ben Tone mainly includes the four major rhymes of the “Hua on Hua”, the “Oil Locking Oil”, the “Lao Li Tiger” and the “Cui Yin Yin”, and there were several minor rhymes under them. The music of the Da Ben Tone was named as “Nine Bans, Three Tunes and Eighteen Tones”. It has been found out more than eighty music stories of the traditional stories of the Da Ben Tone, and they are very popular in the villages of Dali. The schools of the Da Ben tone of Dali are divided into the South Voice and the North Voice. After the foundation of the People’s Republic of China, The Communist Party and the Government paid close attentions the Da Ben Tone of the Baizu Nationality, and organized the folk performers to publicize the policies of the Party and sing the praise of the socialism in the singing pattern of the Da Ben Tone. On most of the national festivals, such as Ben Zhu Festival and 3 Moons Festival, and on most of the occasions of moving into the new house, the Da Ben Tone singing activities shall be taken.
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