Bulang’ s Singing with Playing Stringed Instrument 布朗族弹唱
Bulang Traditional Art: Story Telling via Singing Songs and Playing Music
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Kunming Tone, also known as Kunming Dialect (昆明调), is a type of traditional folk singing popular in Kunming city and surrounding areas such as Chenggong, Jinning, and ethnic Han regions around Dianchi Lake. It is also sung by certain ethnic minorities in the vicinity of Kunming. The term “Kunming Tone” generally refers to local folk songs, mountain songs, and small tunes that belong to this area. In folk culture, these are often referred to by various names such as “tunes” or “folk songs.”
1. Overview
Kunming Tone is sung in fields and mountains, with no specific seasonal restrictions. Besides everyday singing and pair singing during seasons like rice planting or weeding, large-scale singing activities are often held at annual festivals such as the “March 3rd Mountain Song Festival,” the “June 24th Horse Racing Mountain Song Festival,” the “Yulan Tune Festival,” the “Hongshiyan Song Festival,” and the “Guanyin Mountain Tune Festival.” These events often take the form of a “song contest,” where participants compete by singing improvisational lyrics, guided by “songmasters.” These contests can last several days, with no clear winner until the end.
2. Singing Form
The lyrics of Kunming Tone are broad in scope and encompass various topics such as love, hometown scenery, history, geography, and everyday life. Kunming Tone has many different songs, and some of the most popular ones include Yuan Mountain Tune, Guessing Tune, Big River Rising, Fishing Song, Horse Driving Tune, Sending Off the Young Man Tune, and Fighting Horses Song, among others. The Fishing Song is particularly popular in the western part of Kunming. The melody of this song follows a typical national modal style, using a four-two rhythm, and is known for its ethnic flavor.
While the lyrics of Kunming Tone are simple, the songs are characterized by the frequent use of auxiliary words, which enhance the rhythm and sense of flow. Moreover, the combination of singing and recitation adds variety to the rhythm, making the tunes lively and expressive. This results in a humorous, witty atmosphere that is appreciated by the audience. The singing style often begins with a call-and-response introduction, and some songs use “loop lines,” which are similar to tongue twisters. When sung well, these lines can receive great applause from the audience.
Guessing Tune is one of the most representative forms of Kunming Tone. It is a tune where 56 different things are guessed and answered, stimulating imagination and impressing listeners with its creativity.
3. Cultural Influence
Since the 1950s, Kunming Tone has gained widespread popularity across China, with many of its representative works becoming well-known nationwide. The traditional transmission of these songs is often passed down from parents to children or from experienced singers to newcomers. This practice continues to thrive, especially in areas like the western part of Kunming’s Xishan District.
4. Further Information
For more detailed information, you can refer to the original article in Chinese.
“Oh De De” – Folk Song of Nu Ethnic Minority 怒族民歌“哦得得”
http://www.ynich.cn/view-ml-11111-1119.html
Folk Songs of Drung Ethnic Minority in Gongshan County 贡山县独龙族民歌
http://www.ynich.cn/view-ml-11111-1120.html
Folk Songs of Achang Ethnic Minority in Lianghe County 梁河县阿昌族民歌
http://www.ynich.cn/view-ml-11111-1121.html
Overview of Dongjing Daoist Music
Dongjing Daoist Music, an ancient traditional genre of Chinese ritual music, originated in the Song Dynasty in Sichuan Province. It is now popular in the Sichuan, Yunnan Han regions, and among the Naxi (纳西族) and Yi (彝族) peoples in places such as Lijiang and Chuxiong.
- Chinese Name: 洞经音乐
- Heritage Level: National Level
- Approval Date: November 11, 2014
- Declared Region: Xichang, Sichuan Province
- Heritage Category: Folk Music
- Heritage ID: II-128
Historical Origins
Dongjing Daoist Music, which has a long and rich history, involves a variety of musical instruments—both civil and martial—that produce elegant, simple, and classical music styles. The music is named after the Daoist scriptures “Wenchang Daodong Xianjing” (文昌大洞仙经), and it is associated with Daoist scriptures known as “Dongjing” (洞经), which are divided into three parts: Dongzhen, Dongxuan, and Dongshen. These scriptures are passed down by the Three Pure Ones, the central deities in Daoism.
The music originated in Pengxi County (蓬溪县), Sichuan Province, from the ancient Daoist silk and bamboo ensembles of the central plains. The founders of this music were Liu Ansheng and Wei Qi.
Key Figures in the Development of Dongjing Music:
- Liu Ansheng (刘安胜): A native of Pengxi County in Sichuan, Liu wrote the Wenchang Daodong Xianjing (文昌大洞仙经) in 1168, which became widely spread and became the foundation for Dongjing Daoist Music.
- Wei Qi (卫琪): A scholar from the Yuan Dynasty, Wei Qi was influential in interpreting Liu’s work and spreading Dongjing Music across regions. His Wenchang Daodong Xianjing Zhu (文昌大洞仙经注), presented to Emperor Wuzong of the Yuan dynasty in 1310, is considered a key text for the music’s development.
In 2014, Dongjing Daoist Music was included in the fourth batch of national intangible cultural heritage by the State Council of China.
Artistic Features
Dongjing Daoist Music has undergone over 830 years of development since its creation in 1168. It has gone through various stages, including initial transmission, growth, peak, decline, and revival, adapting to social, religious, and economic changes over time.
Key Characteristics of the Music:
- Musical Diversity: The number of pieces has significantly increased. At the beginning of the People’s Republic of China, there were over 2,000 pieces, and after thorough collection and sorting, there were over 1,500 works preserved.
- Instruments: The music features an array of instruments including the zheng, pipa, flute, bells, drums, cymbals, and gongs.
- Cultural and Spiritual Significance: The music is heavily influenced by Confucian and Daoist philosophies. Performers often come from scholarly backgrounds, and the music serves as a medium for spiritual pursuit, such as the quest for immortality and seeking blessings from the divine.
Types of Performances:
- Tanxiang (谈腔): This is a lyrical style performed with a band, typically focusing on singing Daoist hymns and praises.
- Songxiang (诵腔): A recitative style with simple, clear accompaniment, often using only a wooden fish or a bell.
- Duxiang (读腔): This style is more free-form and based on reciting texts, often with no musical accompaniment.
Representative Works
The music includes a vast array of pieces that have been passed down through generations. Some representative works include:
- Dali Dongjing Ancient Music (大理洞经古乐): A 1990 publication containing 270 pieces such as Nanqing Gong (南清宫), Bei Pingzhou (北评洲), and Yuhua Yin (玉华音).
- Kunming Dongjing Music (昆明洞经乐曲): Comprising over 130 pieces, including Xuan Yun Zhou (玄蕴咒), Dao Shi Ling (道师令), and Yi Jiang Feng (一江风).
- Weishan Dongjing Music (巍山洞经音乐): Contains more than 100 works such as Bu Chan Gong (步蟾宫), Xiao Zhe Gu (小鹧鸪), and Shui Long Yin (水龙呤).
Each region may have its own distinct set of songs, tailored to local customs and practices.
Cultural Significance
The performance of Dongjing Music is a key method of passing down Daoist culture. It not only preserves musical traditions but also embodies the spiritual essence of Daoism, integrating religious rituals with music and song.
In recent years, efforts have been made to revitalize Dongjing Daoist Music, taking it from traditional settings to modern stages. Today, it is performed in various cultural venues, helping bridge the gap between tradition and contemporary culture. This music has become a symbol of cultural heritage that continues to thrive across generations.
Conservation and Protection
Dongjing Daoist Music has been actively preserved and protected by local cultural institutions. In February 2022, both the Yishala Tan Jing (迤沙拉谈经古乐) and the Qiongdu Dongjing Music (邛都洞经古乐) in Sichuan were listed as provincial-level intangible cultural heritage projects.
To ensure the continuity of the tradition, music groups such as the Pengxi Dongjing Music Research Association have been formed, focusing on gathering and preserving musical scores, and training new generations of performers.
For more detailed information, you can visit the official website: Yunnan Intangible Cultural Heritage.
Dongba Dance is a traditional dance of the Naxi people, mainly passed down in Gucheng District (古城区) and Yulong Naxi Autonomous County (玉龙纳西族自治县) of Lijiang City (丽江市). With nearly 100 different routines, it is an important part of Naxi Dongba culture. Originating from the ancient sacrificial dances of the Naxi people, Dongba Dance reflects a wide range of objective things in nature and social relationships between people through direct imitation or indirect expression. It not only has religious significance but also strong folk and entertainment characteristics.
Origin and Development
The origin of Dongba Dance can be traced back to the sacrificial activities of the ancient Naxi ancestors. At that time, people imitated the movements of animals to please the “Shu Shen” (术神) and sought the protection and blessings of the deities. This early form of dance laid the foundation for Dongba Dance. The development of Dongba Dance is closely related to Dongba religion. The dances performed by Dongba priests according to the rules of religious ceremonies gradually formed a systematic Dongba Dance. The movements and steps of Dongba Dance are meticulously recorded in the Dongba Dance Score (《东巴舞谱》), which is written in Naxi pictographic script. This score is a precious resource for studying the origin of human primitive dance and the formation of early dance scores.
Dance Characteristics
Dongba Dance has a unique artistic style. Its movements are vigorous yet gentle, bright and unrestrained, and flexible in change, maintaining a simple and elegant charm. Common types of dances include deity dances, animal dances, and ritual instrument dances, each with its specific cultural connotations and forms of expression. For example, deity dances are usually performed to worship the Dongba religion’s deities, with gentle and elegant movements. Animal dances, on the other hand, vividly imitate the movements of various animals, such as the great roc, the turquoise dragon, and the white sheep. The performance forms of Dongba Dance are diverse, with as few as one or two dancers and as many as thirty to forty dancers participating together. They form a circle, holding props such as clappers and drums, and dance to the rhythm.
Cultural Value
Dongba Dance is not only an important symbol of Naxi culture but also a precious gem in the Chinese national art treasury. It carries the historical changes and social transformations of the Naxi people, containing eternal vitality and profound national temperament. The inheritance of Dongba Dance is of great academic value for the study of the Naxi religion, history, culture, and the development of human primitive dance.
Modern Inheritance
In May 2006, Naxi Dongba Dance was included in the Yunnan Province Intangible Cultural Heritage Traditional Dance Project Catalogue, receiving better protection and inheritance. Today, Dongba Dance is widely spread in Naxi areas and is showcased to the outside world through various cultural activities and tourism projects, attracting the attention of numerous domestic and international visitors. In some schools and cultural institutions, Dongba Dance has been incorporated into the curriculum, training more young inheritors.
Dongba Dance, as a unique cultural treasure of the Naxi people, showcases the artistic talent of the Naxi people and their reverence for nature and deities. It is not only an important part of Naxi culture but also a vivid manifestation of the diversity of Chinese national culture.
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Discover the Fascinating “Ruo Ruo” Language of the Nu People in Gongshan!
Nestled in the stunning landscapes of Gongshan County, Yunnan Province, the “Ruo Ruo” language of the Nu ethnic group offers a unique cultural experience for curious travelers. This rare and endangered language belongs to the Tibeto-Burman branch of the Sino-Tibetan language family and is spoken by approximately 2,500 people living along the banks of the Lancang River.
Why It’s Special:
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Melodious Sounds: With six distinct tones and a rich variety of syllables, the Ruo Ruo language creates a musical rhythm that is both enchanting and mesmerizing.
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A Living Cultural Treasure: As one of the lesser-known languages in China, it reflects the deep connection between the Nu people and their mountainous homeland.
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A Window into Tradition: Through its vocabulary and grammar, you’ll uncover stories of ancient customs, rituals, and the harmonious relationship between people and nature.
Whether you’re a linguistics enthusiast or simply someone who loves uncovering hidden gems, the Ruo Ruo language invites you to explore a world of sound, culture, and history that few have experienced. Join us in preserving this linguistic treasure—one conversation at a time!
Come and immerse yourself in the magic of the Ruo Ruo language! 🌟
Language of Drung Ethnic Minority 独龙族语言
http://www.ynich.cn/view-ml-11111-1105.html
Daibeng Characters of Dai Ethnic Minority in Gengma County, Lincang 耿马县傣绷文
http://www.ynich.cn/view-ml-11111-1106.html
“Kuoshi Mugua” – Narrative Poem of Lisu Ethnic Minority in Yingjiang County, Dehong 盈江县傈僳族叙事长诗《阔时目刮》
http://www.ynich.cn/view-ml-11111-1107.html
Introduction
The Miao ethnic minority narrative poem Zhaobangjian & Gaopanshi (苗族叙事长诗《昭蒡俭和高帕施》) is widely circulated in the Miao regions of Kunming, Qujing, Zhaotong, and Chuxiong. This narrative poem tells the story of a young Miao couple, Zhaobangjian (昭蒡俭) and Gaopanshi (高帕施), who, in their pursuit of a beautiful and free love, use clever tactics to escape from the clutches of the evil man Duomanduolong (多漫多龙), who wants to forcibly marry Gaopanshi. They face numerous trials and dangers, managing to escape from Duomanduolong’s pursuit, eventually reaching a place called “Tianbian” (天边), a land far away from the tyranny of black forces, leading them toward a better life.
Seven years later, the celestial being Yayang (仙人亚盎) learns of the couple’s escape to Tianbian for freedom and happiness. Yayang sends divine soldiers to help the couple eliminate the wicked Duomanduolong, allowing Zhaobangjian and Gaopanshi to return home and reunite with their family.
Themes and Symbolism
Zhaobangjian & Gaopanshi carries a strong anti-feudal message, with Duomanduolong representing the embodiment of feudal ruling classes. Through the courageous struggle of Zhaobangjian and Gaopanshi against the forced marriage imposed by Duomanduolong, the poem reflects the Miao people’s spirit of resisting and overcoming oppression by feudal rulers. The poem has had a lasting and positive influence in the Miao community. Whenever someone is hesitant in the face of difficulties, they are reminded of Zhaobangjian and Gaopanshi’s escape to Tianbian, saying, “If they can escape from Duomanduolong’s pursuit and find a better life, what is your difficulty?”
Young people view Zhaobangjian and Gaopanshi as role models in their struggle against evil forces and marriage oppression, while middle-aged and older generations regard them as symbols of resistance against feudal rulers.
Cultural and Historical Significance
After the founding of the People’s Republic of China, Miao singer Lu Xingfeng (陆兴凤) from Xundian Hui and Yi Autonomous County in Kunming collected and compiled the poem. She translated it into Chinese, and the full poem, consisting of 1,160 lines, was divided into 10 sections. It was published in Folk Literature (《民间文学》), a journal of the China Federation of Literary and Art Circles and the China Folklore Research Association (1964, Issue 3, No. 96, People’s Literature Publishing House). The publication attracted attention from both Miao communities and academic circles.
The poem’s language is rich in ethnic and local characteristics, with vivid depictions of the characters, environment, and atmosphere. It has been passed down orally in Miao language among the Miao people. However, today, there are fewer and fewer singers who can perform the entire poem in its original Miao language.
For more details, visit: http://www.ynich.cn/view-ml-11111-1108.html
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