Introduction to Dasanxian: The Accompaniment of the Three-string Fiddle (彝族大三弦)

The Dasanxian (大三弦) is a traditional plucked string instrument of the Yi ethnic group, widely known for its distinct and deep tone. It is also called Erhe Yamo, Sanxian Yamo, or Dada in the Yi language, with “Erhe” meaning three strings and “Yamo” meaning large, thus literally translating to the “Large Three-string.”

Cultural Heritage Information:

• Heritage Name: Yi Ethnic Group’s Dasanxian Dance (彝族大三弦舞)
• Date of Application: 2006
• Region: Yunnan Province, China
• Heritage Number: III-17

1. Overview

The Yi Ethnic Group’s Dasanxian Dance is a folk dance that has deep roots in the Yi people’s culture and history. The dance, accompanied by the Dasanxian instrument, is prevalent in various parts of Yunnan, including areas like Lu Nan Yi Autonomous County, Yiliang, Honghe Hani and Yi Autonomous Prefecture, and Weishan Yi Hui Autonomous County. It is enjoyed by the Yi branches of Axi, Aze, and Sani.

2. Reason for Inclusion in Cultural Heritage

The Dasanxian Dance has a unique charm that resonates deeply with its audience. The phrase “When the flute and three-string sound, everyone’s legs start itching” captures the infectious rhythm of the dance. During the Torch Festival, participants light bonfires, play the Dasanxian, and engage in joyful singing and dancing, expressing a deep connection to Yi culture. The dance itself has its roots in Sani’s adaptation of the “Axi Dance” (阿细跳月) and maintains a vibrant and rhythmic form, with dancers executing swift steps and clapping in time with the music.

3. Traditional History

The Yi ethnic group has a long-standing tradition of music and dance. At their key festivals such as the Torch Festival, Flower Festival, and the March Meeting, Yi people gather in their finest attire to sing and dance. Traditionally, men played the Sanxian while women clapped and stomped along with the rhythm.

In places like Lu Nan and Mile, the Yi people often refer to this celebration as “Jumping Music” or “Dajia”, whereas in regions like Honghe Hani Autonomous Prefecture, it is called “Dajiao” or “Foot Stomp Dance”. Historically, Yi youth began playing the three-stringed instrument and participating in these dances as early as their teenage years.

4. Development and Influences

Over time, the Yi Dasanxian Dance evolved through several stages. Initially, the dance was accompanied by a small, gourd-shaped three-stringed instrument. However, after the founding of the People’s Republic of China, the instrument evolved into a larger wooden version, and the accompanying dance steps grew more complex.

In 1921, Duan Xianwang from Mile County made the first generation of the larger three-stringed instrument, which became the standard accompaniment for the dance. In 1930, Zhang Chongren from Xishan also innovated upon the instrument’s design, which led to the widespread popularity of the Dasanxian in Yi villages.

5. Dance Structure and Features

The Dasanxian Dance is performed in various forms across different Yi communities. Dancers form lines or circles, with men playing the three-stringed instrument and accompanying themselves with the flute, while women dance, clap, or stomp along with the music.

The dance’s rhythm is typically in a 5/4 time signature. The dance steps vary, but some common ones include the “Jumping Step,” “Running Step,” and “Turn and Jump.” Dancers can form different formations, such as a single line, a double line, or a large circle, with a tempo that shifts from fast to slow.

6. Historical Development of “Axi Dance” (阿细跳月)

The Axi Dance or “Axi Jumping the Moon” is one of the most celebrated traditions in the Yi culture, and it is an evolution of the Dasanxian Dance. According to some historical accounts, the name originated from ancient practices where the Yi people would jump on the fields while working to avoid burning their feet on the embers of a fire used for land clearing. Over time, this motion evolved into a dance, and the accompanying chant “Aza” remains a key part of the performance today.

7. Main Styles of Dance

The Dasanxian Dance is often performed by three groups:

• Youth Dance
• Elder Dance
• Children’s Dance

The Youth Dance is the most representative form, characterized by lively steps and bold, energetic movements. It is performed to a fast-paced rhythm and is often accompanied by a high-pitched tune played on the Dasanxian and flute. The dance is full of vitality, with dynamic movements, graceful poses, and a strong sense of collective spirit.

8. Popularity and Community Involvement

The Dasanxian Dance is widely practiced and enjoyed in Yi communities. In areas such as Lu Liang and Shilin, large-scale performances are held during festive occasions, where both young and old participate in the dance, making it a powerful expression of community spirit.

In Shilin County, Guishan Township, and Mule Township, the Sani Yi people have a strong tradition of the Dasanxian Dance, with entire villages actively participating. Many people in these communities are skilled in playing traditional instruments like bamboo flutes and the Dasanxian.

The Dasanxian Dance of the Yi Ethnic Group is a vibrant and important part of the cultural heritage of Yunnan Province. It has evolved from a simple folk tradition into a sophisticated, widely appreciated dance form that is celebrated both in local festivals and international stages. From its roots in labor and ritual to its current place in the cultural spotlight, the Yi Dasanxian Dance continues to inspire and engage audiences, bringing the spirit of Yi culture to life.

 Elephant-foot Drum Dance of Dai Ethnic Minority in Yingjiang County, Dehong  盈江县傣族象脚鼓舞

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Palm Fan Dance of the Hani Ethnic Minority in Yuanjiang County, Honghe Prefecture

Historical Origins

Artistic Characteristics

1. Movement and Mimicry
   • Masculine Roles: Male dancers often emulate wild animals like bears (“bear’s embrace”), monkeys (“monkey’s bow”), and eagles, with robust, earthy movements that evoke strength and agility. These gestures recall ancient hunting scenes, symbolizing the Hani’s historical reliance on nature for survival.
   • Feminine Grace: Female dancers, wielding palm-leaf fans , mimic the elegant strides of the silver pheasant (“pheasant’s prance”), the delicate wade of herons (“heron’s fish-search”), and the fluidity of natural elements. Their movements—graceful hip sways, undulating waistlines, and fan flourishes—create sinuous, bird-like curves, celebrating the beauty of Hani women and their harmonious relationship with nature.
2. Musical Accompaniment
   The dance is brought to life by a vibrant ensemble of traditional instruments: the deep resonance of ox-hide drums , the sharp clatter of gongs  and cymbals , the soulful wail of suona horns , and the melodic pluck of three-stringed lutes . Rhythms alternate between free-flowing improvisations, syncopated percussion-driven beats, and lyrical sung interludes, where haunting melodies convey stories of love, labor, and legend. The interplay of sound and motion creates an immersive experience, balancing solemnity with exuberance.
3. Costume and Adornment
   • Male attire is understated yet symbolic: loose-fitting black or blue trousers paired with crisp white or indigo shirts, reflecting the simplicity of rural life.
   • Female costumes dazzle with vivid hues: intricately embroidered long skirts in reds, blues, and greens, paired with silver jewelry—necklaces, bracelets, and headdresses—that jingle with every step. Embroidered shoes and colorful headscarves add finishing touches, embodying Hani aesthetics of nature-inspired artistry and cultural pride.

Cultural Significance

• Reverence for Nature: The dance’s mimetic movements—from imitating flowing rivers to rustling forests—manifest the Hani philosophy of “Awoeibei” (Harmonious coexistence between humans and nature), or harmonious coexistence with nature. Each gesture is a prayer of gratitude for the land’s bounty, a reminder of humanity’s place within the ecological web.
• Celebration of Life: The upbeat rhythms and dynamic choreography mirror the Hani people’s resilience and joy. Whether performed at harvest festivals or village gatherings, the dance is a communal affirmation of life’s blessings, fostering unity and collective optimism.
• Ancestral Memory: Ritualistic sequences in the dance pay homage to Hani forebears, reenacting historical migrations, agricultural practices, and spiritual traditions. By passing down these movements, each generation reinforces its identity, ensuring that ancestral wisdom remains vital and visible.

Preservation and Modern Evolution

• Cultural Revitalization: Local governments organize workshops and master-apprentice programs to train young dancers, ensuring the transmission of authentic techniques. Annual festivals like the Zhubang Festival (矻扎扎节) showcase the dance to both locals and tourists, blending tradition with contemporary stages.
• Innovation with Tradition: The dance has adapted to modern contexts, integrated into school curricula as a rhythmic campus activity and featured in tourism performances that highlight ethnic diversity. These adaptations introduce the Palm Fan Dance to new audiences while retaining its core spiritual and artistic essence.
• Global Recognition: Efforts to document the dance through films, academic research, and international cultural exchanges have elevated its profile, positioning it as a symbol of Yunnan’s rich multicultural tapestry.

A Living Legacy

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Dabiya Folk Dance of Nu Ethnic Minority in Fugong County, Nujiang福贡县怒族达比亚舞

http://www.ynich.cn/view-ml-11111-1133.html

Guake Dance of Lisu Ethnic Minority  傈僳族刮克舞

Guake Dance: Joyful Dance

http://www.ynich.cn/view-ml-11111-1134.html

“Cuocuo” – Folk Dance of Pumi Ethnic Minority in Lanping County, Nujiang  兰坪县普米族舞蹈“搓蹉”

http://www.ynich.cn/view-ml-11111-1135.html

The Jino Big Drum Dance, known in the Jino language as “Si Tu Guo” (“Si Tu” means big drum, “Guo” means to dance), is a unique traditional dance of the Jino ethnic group in Jino Mountain Jino Ethnic Township (基诺山基诺族乡), Jinghong City (景洪市), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州), Yunnan Province (云南省). The dance originates from the Jino creation myth, in which the ancestral goddess Amo Yao Bai is said to have used a big drum to save her people. Thus, the Jino people regard the big drum as a sacred object and refer to themselves as “the people who walked out of the drum”.

Cultural Connotations

Myth and Belief

Festivals and Rituals

• Te Mu Ke Festival (Iron Beating Festival): Held three days after the beginning of spring, it is the most important festival of the Jino people, symbolizing the transition from the Stone Age to the Iron Age of agricultural farming.
• Family God “Tie Luo Mo Mo” Worship: Conducted in March when the hundred flowers are in full bloom, it is a ritual to pray for peace and good fortune.
• Village Elder’s House Building Ceremony: When a new house is completed, a drum sacrifice and Jino Big Drum Dance are performed to pray for blessings.

Dance and Music

• Ritual Process: Before the dance, a piglet and a chicken are slaughtered for sacrifice. Seven elders recite scriptures to pray for blessings. Then, the drummer dances while beating the drum, accompanied by gongs, cymbals, and singing.
• Dance Movements: The movements include “worshipping the spirits,” “joyful dance,” and “New Year’s tune,” mainly featuring bending the knees, raising the hands, and turning the body.
• Lyrics “Wu You Ke”: The lyrics cover the history, morality, and traditional customs of the Jino people.

Artistic Features

Symbolism of the Sun Drum

Evolution of Performance Forms

Inheritance and Protection

Endangered Status

Protection Measures

• Intangible Cultural Heritage Inheritance: After being listed as a national intangible cultural heritage in 2006, a training center was established in Jino Township to cultivate young dancers.
• Cultural Promotion: The Jino Big Drum Dance has become a performance item in festivals and tourism, and has won awards in events such as the CCTV Dance Competition.
• Dual Protection: Some villages have two drums – one for performance and the other as a sacred object used only for sacrificial purposes.

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Hulusheng Dance of Lahu Ethnic Minority  拉祜族葫芦笙舞

Hulusheng Dance: Gourd Panpipe Dance

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“Dengwoluo” – Folk Dance of Achang Ethnic Minority in Lianghe County, Dehong   梁河县阿昌族舞蹈“蹬窝罗”

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Tengchong Jade Carving  腾冲玉雕

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The Yi paper-cutting art in Shiping County—especially the traditional Huayao Yi craft of the Nisu subgroup—has been passed down through the ages. This art not only carries the aesthetics of apparel but also concretely expresses the Yi ancestors’ cosmology, philosophy of life, and ethical values. Every cut of the scissors on paper is a testament to the spiritual dialogue between people, nature, and ancestors.

I. Historical Origins: Civilization’s Codes Embedded in the Folds of Time

1. Ancient Culture and Ethnic Migrations

• Ancient Origins: The history of Huayao paper-cutting can be traced back to the Dian culture of the Pre-Qin period, rooted in the agrarian civilization and primitive beliefs of the Yi ancestors.

• Archaeological Evidence: The totemic patterns found on Han Dynasty bronze wares, which bear a striking resemblance to contemporary paper-cut designs, confirm the continuity of the art as “engraving bronze patterns onto paper.”

2. Traditional Methods of Transmission

• Mother-Daughter Co-Cutting: In Huayao villages, the craft is passed on from mothers to daughters. From around the age of seven, girls learn by observing their mothers carve patterns on cigarette box paper or scratch outlines on pear bark. By around twelve, they are capable of independently completing complex designs.

• Inheritance Rituals: During the annual “Huajie Festival” on the 8th day of the second lunar month, unmarried girls embroider patterns (such as magpies perching on branches or butterflies adoring flowers) they have paper-cut onto aprons. These are then presented at a banquet for elders’ evaluation, with the quality of the work directly influencing the girl’s social reputation.

II. Artistic Features: Primitive Religion Embodied in Knife Work and Symbolism

1. Knife Technique: The Yin-Yang Layered Cutting Method

• Tool Use: Utilizing specially designed 10-centimeter curved “crescent scissors” along with engraving knives and awls, the craft allows for both delicate 0.2-millimeter hairline patterns and robust 2-centimeter thick block areas.

• Yin and Yang Approach: The method starts with “yang cutting” to outline the shape, followed by “yin cutting” to remove the inner layer. This process creates multiple layers of “interplay between void and solid,” as exemplified in works like Divine Bird by the Fireplace, where the yang-cut lines of the bird’s feathers contrast vividly with the yin-cut blocks of flames.

• Stylistic Principles: The craft adheres to an exaggeration rule of “big head, small body” and “eyes larger than the mouth.” For instance, butterfly antennae are always drawn longer than the wings to symbolize acute sensitivity to nature, while the antlers of a sika deer branch out into nine parts, echoing the ancient belief in the supremacy of the number nine.

2. Symbolic Motifs and Color Implications

• Botanical Totems:

  • Huya Flower: A five-petaled, spiky design, often embroidered on headscarves, symbolizes the descendants of the tiger clan. Legend has it that its petals can ward off evil.

  • Gourd Flower: Featuring vines intertwined with seven leaves and a central cluster of five seeds, this design resonates with the Yi creation myth of the “gourd nurturing all things.”

  • Flame Flower: With its twelve serrated petals typically rendered in red and black, it represents the blessings of the fire god “Ayi.”

• Animal Symbolism:

  • Fish-Butterfly Symbiosis: A composite image combining the body of a fish and the wings of a butterfly, commonly seen on wedding attire, symbolizes fertility and the cycle of life.

  • Four-Legged Snake (Lizard): Often depicted in a posture of supporting the sky with its four legs, this motif is used in funeral paper-cuts to signify the connection to the ancestral land as the soul returns.

• Color Coordination:

  • Although the paper-cut templates are typically plain, when applied to clothing they must be paired with colorful embroidery. The five colors—red (fire), black (earth), yellow (grain), green (forest), and white (cloud)—correspond to the five elements. For example, yellow peonies on black paper represent “earth generating metal,” praying for a bountiful harvest; while green patterns accented with red butterflies symbolize “wood generating fire,” implying family prosperity.

III. Functional Dimensions: Dual Narratives of Daily Apparel and Spiritual Sacrifice

1. Writing History on Apparel

• Headwear: Hats are adorned with “Double Phoenix Protecting the Forehead” paper-cut designs, complemented by 36 micro-cut “sunwheel” patterns symbolizing the 36 hours of the ancient Yi calendar.

• Clothing Fronts: The right lapel is often decorated with “Twelve Zodiac Round Flowers,” each representing an age that is renewed annually. For example, a 24-year-old might wear a “Tiger and Horse Together” design as a talisman for their birth year.

• Skirt Hems: The “River Pattern” at the hem of pleated skirts comprises continuous “vortex water patterns” that record the ancestors’ migratory routes across rivers. The varying curvature of these water patterns among different villages forms a unique “ethnic identity code.”

2. Medium for Communication in Rituals

• Money Tree Ceremony: Constructed with 12 layers of handmade paper, the money tree is intricately carved with images such as “coin strings,” “grain bins,” and “horses,” and features 7 “soul-guiding birds” on its trunk. During rituals, it is dismantled layer by layer from the bottom up, symbolizing the ascent of the soul.

• Jade Bucket Ceremony: This circular paper-cut jade bucket, 30 centimeters in diameter, is decorated on the outside with depictions of “five grains and six livestock” and contains fragments of the deceased’s clothing inside. As it burns, a “Soul-Sending Scripture” is chanted, with the bucket being deliberately cut after each passage until it breaks, symbolizing the soul’s passage beyond boundaries.

• Ritual Taboos: For sacrificial purposes, the paper-cuts must be done with “reverse cutting” (with the scissors pointing inward), and complete human figures are avoided to prevent trapping the soul within the paper. Instead, only symbolic elements such as crowns or shoes are used to represent ancestors.

IV. Cultural Decoding: Revitalizing Traditional Symbols in Modern Transformations

1. Educational Innovations and Cultural Gene Implantation

• Intangible Cultural Heritage Classrooms: In the central primary school of Shaochong Town, an “Intangible Cultural Heritage Classroom” allows children to use modified plastic scissors to cut out the “New Twelve Flower Deities.” Their works are then scanned and transformed into lampshades and bookmarks via 3D printing. Heritage bearer Pu Qinghua observed that children creatively integrate anime elements—such as crossovers with Ultraman and the Fire Phoenix—bringing a youthful twist to traditional symbols.

2. Industrial Integration and Cross-Sector Practices

• Cultural Tourism Experiences: The “Paper-Cut Workshop” in Shiping Tofu Town enables tourists to press paper-cut molds onto tofu wrapping cloth. After steaming, the cloth reveals light brown patterns, achieving an innovative integration of taste and vision in cultural heritage.

• E-Commerce Innovations: Heritage bearer Li Naalu, from the post-95 generation, has designed silver ornaments incorporating paper-cut motifs, such as “Huya Flower Earrings” and “Gourd Pattern Bracelets.” In 2024, these items sold over 100,000 units, with 30% of the consumers being Generation Z.

3. Academic Research and International Fashion Fusion

• Iconographic Studies: A team from the Ethnology Department of Yunnan University discovered through image analysis that the “seven-petal flower” in Huayao paper-cuts bears a remarkable resemblance to patterns on the bronze trees of Sanxingdui, suggesting a cultural marker of ancient Diqiang ethnic groups migrating southward.

• Fashion Collaborations: The Design Department of the Central Academy of Fine Arts extracted elements such as “spiral patterns” and “serrated edges” from traditional paper-cuts to create a Yi-themed exhibition at the 2024 Paris Fashion Week, reviving these traditional motifs in high fashion.

V. Inheritance Challenges and Solutions: Constructing a Living Chain of Cultural Transmission

1. Inheritance Challenges

• Aging Heritage Bearers: Among the current 87 heritage bearers, 72% are over 60 years old.

• Cultural Disconnect: While younger generations can master the technique of paper-cutting, they often struggle to grasp the profound cultural meanings and symbolism behind it.

2. Proposed Measures and Strategies

• Pattern Gene Bank: By scanning over 2,000 traditional paper-cuts using AI technology, a comprehensive database is being established. Each pattern is annotated with its mythological origins and associated taboos to prevent commercial misuse.

• Apprenticeship Points System: A points system is in place to encourage villagers to teach paper-cutting techniques to tourists. These points can be exchanged for agricultural supplies, thus linking skill transmission with economic benefits.

• Ritual Scenario Theater: The “Money Tree Burning Ceremony” is being re-enacted in an Intangible Cultural Heritage Museum, where heritage bearers perform live paper-cutting and chant the Soul-Sending Tune. This immersive experience helps audiences understand the profound spiritual essence behind the art.

From the intimate mother-daughter exchanges by the fireplace to its presentation on an international cultural stage, Huayao Yi paper-cutting art has steadfastly safeguarded the spiritual roots of the Yi people. Every snip and every cut not only records the passage of time but also imprints faith and civilization—a cultural legacy continually rewritten in the modern era.

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Sixian Song and Dance of Pumi Ethnic Minority in Lanping County, Nujiang   兰坪县普米族四弦舞乐

Sixian: Plucked String Instrument   

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Dasanxian Dance of Yi Ethnic Minority

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