Jianli's Folk Writing

Guandi Temple will hold large-scale temple fairs in the first month of each year and l3 in the fifth lunar month. At that time, Jingzhou people will play dragon lanterns, row lotus boats, ride horses and shoot arrows, and blow horns to cover sedan chairs, which will make the Guandi Temple very lively inside and outside. Jingzhou people worship Guan Gong, which has been a custom for thousands of years. When Guan Yu returned from his crusade against Wu Shengli, Jingzhou soldiers and civilians beat gongs and drums and set off firecrackers outside the north gate, lining the streets to welcome him. Today, this street is still called "Victory Street". On holidays, people in Jingzhou play with dragon lanterns, and the boys who play with dragon lanterns have to go to Guandi Temple to worship Guan Gong first, and then dance dragons along the streets of the ancient city. The tourist souvenirs produced in Jingzhou also take Guan Yu culture as the main content, such as silk handkerchiefs embroidered with Guan Yu's image, exquisite backpacks printed with Guan Yu's image, Guan Yu's paintings, figurines and so on. Hotels, shops and many houses in Jingzhou like to offer sacrifices to Guan Gong in the lobby, and some even offer sacrifices once a day. Almost everyone in Jingzhou can tell several stories about Guan Yu guarding Jingzhou. Guan Gong's loyalty has been deeply rooted in Jingchu. With the increasingly frequent cross-strait exchanges and exchanges between China and foreign countries, more and more friends from Taiwan, Hong Kong, Macao and foreign countries come to Jingzhou to worship Guan Gong, pay homage to the gods and make wishes. People from all over the world often gather in Jingzhou Guandi Temple to praise Guan Gong's loyalty in different languages, which endows Guan Gong's culture with new connotation of the times.

Jingzhou ancient painting Jingzhou ancient painting drama, as a unique cultural and artistic form in Jingzhou, has a long history. Jingzhou Flower Drum was originally a "flower drum along the door", which was a grass-cutting yangko for poor people to beg for a living. This kind of "flower drum" is that one person plays drums and sings lyrics, and several people help to tune them. In recent decades, Jingzhou Flower Drum has evolved into a unique local flower drum drama. 1955, an old artist collected and recorded all the vocals of ancient paintings and operas, sorted out the first complete set of ancient paintings, and boldly used ethnic instruments such as erhu, banhu, pipa, dulcimer, bamboo flute and suona to accompany ancient paintings and operas, ending the history of "singing in unison" and simply accompanying them with gongs and drums. Nowadays, Jingzhou ancient painting drama is full of strong local flavor and melodious singing. With Huxiang life as the theme, there are dozens of plays that show Huxiang's style, such as Family Case-solving and Hometown Feeling. In the folk, men, women and children walk and work, humming Hua Gutiao from time to time. Someone said, "Hey, don't take medicine if you are sick!" ""don't sing the flower drum opera, the whole body has no strength. "This shows that Jingzhou people really love Jingzhou Huagu Opera.

Drum and basin song "Drum and basin song" was published by the State Council in May 2006 as the first batch of national intangible cultural heritage list. Drum and basin songs are one of the contents sung in funerals, commonly known as "funeral drums" in modern times. Drum and basin songs were also called "drums and percussion" in ancient times. The origin of drum and basin songs can be traced back to the records of the Book of Songs and the Book of Changes. "Drum basin? The existence of "strikes" with entertainment content and funeral customs lasted for a long historical period. Now it is mainly distributed in Shashi District of Jingzhou City and its surrounding areas. In the history of thousands of years, the drum and basin songs in Shashi are constantly developing and changing from form to content. Formally, percussion instruments went from the earliest to wooden pots, then to wooden pots with drums, and finally to single drums. Artists in Shashi still maintain the original ecological pattern of sitting, singing and not performing. The content of ancient basin songs is colorful and spectacular, with emperors and princes, talented people and beautiful women, opera stories, folklore, fairy tales, secular human feelings, love affairs, humorous jokes, folk gaffes and life sufferings. More than 500 tracks have been found, most of which are handwritten by artists, which can be described as "a mountain of cases". The singing method of drum and basin songs in Shashi is based on the local language in Shashi, and the locals are very catchy. " "Drum" is the only accompaniment instrument in Shashi drum and basin songs. The drummer holds the drumstick in both hands, the left hand is "board" and the right hand is "knock" and "prick". The drumstick is heavy, floating, upright, oblique and flat on the middle, side and side of the drum surface, which constitutes the rich characteristics of drum sound. The rhythm of the drum is always before the end of the singing, which violates the common sense of music beat and has the unique characteristics of strong beat and no stress. Drum and basin songs are a wonderful flower of Jingchu culture. It is simple in form, not limited by the regional environment, rooted in the fertile soil of Chu culture, and is well received by the masses.

The precious cultural relics of Gou Jian's sword, the King of Yue, were unearthed in Mashan Town, Jingzhou District, which is known as the hometown of folk songs. The long history and specific geographical environment here have formed its own unique folk song style, which is known as the cradle of Jingzhou folk songs and occupies a very important position in the whole Hubei folk song music treasure house. Mashan folk songs are the first batch of provincial intangible cultural heritage in Hubei Province. Mashan folk songs have distinctive regional cultural characteristics and a long history, which can be traced back to the "singing" and "Tian Ge" of the State of Chu more than 2,000 years ago. During the Warring States Period, when King Xiang of Chu was in power, Song Yu said in The King Wen of Chu: "There are guests of songs in Ying, who started from Ba people, and thousands of people belong to the country, living in peace ...". Since then, Tang, Song, Ming and Qing dynasties have recorded "Tian Ge in Zhong Ying". Mashan folk songs represent the overall morphological and musical features of Jianghan Plain folk songs, and have a strong original ecological atmosphere. Its unique five-sentence lyrics structure, with songs and subtitles at the end of each sentence, is a treasure of Jingchu culture. The five songs represented by "trumpet tune", "buddy tune", "cue tune", "ding kou dang tune" and "oh ho tune" are even more famous. They have been sung for a long time and widely circulated among the people. Mashan folk songs cover stories of historical dynasties, knowledge of production and life, flowers, birds, insects and fish in four seasons, customs and etiquette of weddings and funerals, playing lanterns during festivals, greeting cards and so on. There are dozens of songs, such as Tian Ge, hymns, minor, lantern songs, children's songs, folk songs and religious songs. "Five songs" can be divided into "shouting five sentences", "grasping five sentences" and "wearing five sentences". The song structure is quite different, and the basic melody is similar. Jingzhou District also adapted and innovated the traditional Mashan folk songs, giving them new connotations, and launched a number of Mashan new folk songs represented by folk songs and dances, such as Cheshui Gong Gu, Huoba, Feng Gu Qiming, Yangkaimen, Night Fishing and Folk Singing Farmhouse, which made Mashan folk songs more contemporary and closer to reality.

The police said that drums are the first batch of provincial intangible cultural heritage in Hubei Province. The police drum has a long history. From the literary form, it is in the same strain as the Bianwen in the Tang Dynasty, because "Dunhuang Bianwen is the pioneering work of all kinds of rap literature in later generations." In the Song Dynasty, the art of rap was very popular, and many forms of rap appeared. Guci was a popular folk art form at that time. After the Song Dynasty, drum words changed several times. During the Yuan and Ming Dynasties, "Hua Ci" gradually developed into a public security drum in the late Ming and early Qing Dynasties. From the Qing Dynasty to the Republic of China, the police drum developed further, the number of drummers increased, the repertoire gradually increased, and the content became increasingly extensive and rich. When the police say drums, they are also told to say drums. Give priority to talking, and talk by singing. Say, that is, exaggerate the tone of local dialect moderately, with ups and downs, charm, rhythm, fast but not chaotic, slow and continuous, clear pronunciation and clear hierarchy. Singing is usually sandwiched at the end of each small paragraph. Often after a rhythmic speech, it ends with two lines of singing, and then the melody of the next sentence is played again with suona, and then the next paragraph is started. The music of the police drum is divided into two parts: aria and suona. Singing qupai is divided into three categories: main cavity, coloratura and crying cavity. The traditional play "Police Drum" is rich in content and has a wide range of topics. First, based on street gossip, trivial matters and jokes; Second, it comes from folklore; The third is from martial arts and historical novels. In addition, some of them are transplanted from local operas and foreign operas. The police said that drums with drums and suona are full of local flavor and expressive force, with unique local flavor and artistic characteristics; The literary form of police drum is formed, developed and popular among the people, so it has folklore value. The music of the police drum is divided into aria and aria, which has a strong local style. After a hundred years of accumulation and evolution, many fixed tunes have been formed, which has the value of music research.

Songzi said that drums are the first batch of provincial intangible cultural heritage in Hubei Province. According to the available data, Songzi said that the drum, formerly known as Shuo Gu Shu, evolved from the "flower thorn" in the Yuan and Ming Dynasties and gradually formed a folk rap form. During Tongzhi period of Qing Dynasty (around 1862), it was popular in Dayanzui, Xizhai and Songzi Paper Mill River in He Jie. Through the inheritance and continuous improvement of artists in past dynasties, drum book rap has undergone great changes, especially after the founding of New China, with the unremitting efforts of folk artists, rap and even performing accompaniment instruments have been further reformed, with rhyme in the local southern dialect and equal emphasis on rap; Music absorbs some tunes of Songzi folk songs; In addition to suona, orchestral music and plucked instruments were also added. It combines singing, music and drums, and becomes a unique folk spectacle, which is well received by the masses and widely circulated in Hunan and Hubei, especially Songzi. Matsuko said that the drum repertoire is colorful and spectacular. Gossip, folk anecdotes, emperors and princes, gifted scholars and beautiful women, drama stories, fairy tales, love affairs, humorous jokes, and life sufferings are all-encompassing. Song Zi Shuo Gu Zi is a local song of Song Zi, which uses dialect slang. At the beginning, it is mainly about speaking, and there is singing at the end of one or two sentences. It is humorous and easy to understand based on the local language of Songzi's South Five Fields. It is said that ancient books have been circulated in Songzi for thousands of years. Due to the lack of cultural life, it is a spiritual support for the ancients to listen to "ancient books" after dinner, and people have a certain dependence on this custom of listening to books. In particular, the local accent makes people feel cordial, and people love listening, learning and singing, which has a broad mass base.

Luoluo Cave "Luoluo Cave" is the first batch of provincial intangible cultural heritage in Hubei Province. Jianli belongs to Jianghan Chu since ancient times, and it is still Chu Feng Chu Yin. "Giggling" is mainly about singing folk opera songs. It is a relay singing method, and its music structure has the characteristics of polyphony and "natural harmony without accompaniment". The pronunciation of "harmony" and "Luoluodong" is a dialect in Jiannan area, which is located in the transition zone between Southwest Mandarin and Hunan and Hubei languages, and the opening syllables account for half of all syllables. Among the tones of folk songs, Jiannan and Honghu East are the confluence of several language tones in central Hubei, southeastern Hubei and Hunan Frozen Court, forming a unique style. The structural types of lyrics can be divided into simple single sentence structure and complex multi-paragraph structure. Jianli is mostly the second kind, novel and unique, one after another, absorbing spoken English and interesting. It constitutes the artistic characteristics of the lyrics of "Giggling". The free rhythm and long melody in music make Luoluo Cave have the characteristics of folk songs in plain areas: the lines are generally characterized by four or five degrees of jumping; Syntactically, it constitutes a melody line that is first raised and then suppressed; In fact, the colorful "color cast" is used in the high-pitched area. "Luoluo Cave" has formed a unique cultural form in Jianli cultural and historical environment, long-term farming life and rice farming labor, and has a wide range of mass and folk inheritance. The melody of Luoluo Cave is high and melodious, and the melody is freely expressed, which has the characteristics of "natural harmony without accompaniment". Luoluodong is the only original ecological folk song with the characteristics of plain folk songs. It uses a large number of auxiliary words, has polyphonic music characteristics in mode tonality and music structure, and has high artistic research value.

Jing Hexi Jing Hexi is the first batch of provincial intangible cultural heritage in Hubei Province, and it is a local traditional opera in Jingzhou, Hubei Province. It is formed by combining the advantages of local elastic cavity absorbing Kunqu opera cavity and high cavity. In the second year of Yongle in Ming Dynasty (1404), Jing Hexi once performed in Shashi, which was called "Chu tune" in history. In the 43rd year of Wanli (16 15), Yuan Xiaoxiu once watched the performance of Chu tune "Golden Hairpin". From the late Qing Dynasty to the Republic of China, there were "Sanyuan Class" and "Taishou Class". Now, the local "drumming" team often sings for the masses in teahouses and pubs. There are three major tunes in Jing Hexi: South Tune, North Tune and Zimu Tune (North-South Opposition). Plate has guide plate, three eyes, original plate, rocker plate, third-rate, flat plate, first-rate, slow-rate, running water and so on. There are four businesses: life, Dan, net and end. The band has a free field and a martial arts field. Commonly used Qupai is about 150 pieces, and Tang Qupai is about 150 pieces. Jing Hexi's performance pays attention to practical work and "eight things inside and outside". Lyrics and lyrics are based on Jingzhou spoken language, mixed with Beijing white, Su white and Sichuan white. He is good at martial arts dramas, especially "Bending the Horse" and "Shaking the Shell" with various postures, which has a unique style of performing arts. "Jing Hexi" is the favorite drama of people in Jingzhou and western Hubei, and folk songs say that "the alto is partial to help the guests, and the local brothers in Jinghe love it". Jing Hexi's traditional repertoires are very rich, including Three Killings, Five Pictures, Twelve Mountains, and 500 Yu Ben, such as Returning to Jingzhou and Playing Huanggai. Studying the rise and fall of Jing Hexi is of great social significance and humanistic value for revealing the relationship between China traditional opera art and social and economic development, folk customs, people's psychological and cultural needs, and social ethics and moral norms. After the long-term artistic practice and accumulation of Jinghe artists, Jing Hexi's repertoire, vocal cavity and music performances are rich and colorful, which is very ornamental, so Jing Hexi also has high artistic value. The Story of Jing Hexi has smooth narration, delicate characterization, accurate and vivid narration, vivid lyrics and high literary value. Learn Jing Hexi's tunes, qupai, gongs and drums classics, the use of musical instruments, playing skills, etc. Deciphering the code in music melody is of great significance to the development and evolution of China traditional opera music and melody.

Songzi Lantern Dance Songzi Lantern Dance is the first batch of provincial intangible cultural heritage in Hubei Province. Roll lantern is a kind of paper lantern in China lantern art, which originated in Jiangsu and Zhejiang provinces and was introduced to Songzi, Hubei Province due to the great population migration in history. The Lantern Festival in history began in the Han, Sui and Tang Dynasties and became more and more popular. Before liberation, Liu Lucheng, the father of Liu Shouyu, a folk artist in Babao Dongyue Town, celebrated the New Year with a lantern. After the founding of New China, Liu Shouyu passed down the lantern rolling dance dictated by his father, which made this folk art spread to this day. 1978, after arrangement and adaptation, the lyrics and songs are included in Hubei Folk Songs. 1980 was selected in Selected Folk Songs of China (published in Shanghai). Rolling lantern dance takes "dragging, beating, swinging, swinging" as the main body, forming a lively, peaceful and festive dance with lights dancing and lights turning. Fully demonstrate the people's good wishes for "unity, roundness and brightness". Percussion plays a role of infiltration, contrast and connection in lantern dance performance. It consists of five percussion instruments: drum, gong, cymbal, horse gong and small gong. Drum (winter) timbre is warm and thick; The sound of the big gong (wide) is deep and unrestrained; The timbre of cymbals is stable and bright; The sound of Rome is cheerful and lively; Xiao Gong (Tai), with crisp and pleasant timbre, is a relatively complete percussion instrument when ensemble, and can fully display the characteristics and performance of percussion instruments when solo. "Lantern Dance" evolved from the traditional custom of playing "Lantern Dance" on the 15th day of the first month in Songzi since ancient times. It is usually performed before and after the Lantern Festival, and has the characteristics of folk inheritance. "Rolling Lantern Dance" is selected from the unique percussion sound in Songzi. In particular, horsemen play the role of command and coordination and run through the whole dance. The main points of gongs and drums are: flower gongs, long hammers, big and small heads, random hammers, rolling heads, etc. When playing, it changes with the change of dance, with light and heavy, alternating fast and slow, clear rhythm and warm atmosphere, which makes the whole dance scene more dynamic and intense. The dance feature of "Rolling Lantern Dance" is that the performers use the dynamic laws of "pushing, dragging, beating, swinging, swinging" and the size of "whirling" to form a scene in which lights dance for people and lights turn for people, which is of great aesthetic characteristics.

Drum Around Shoulder is the first batch of provincial intangible cultural heritage in Hubei Province. Shoulder drum, commonly known as "drum-lifting shelf" and "street beating", is a folk percussion performance that can be played in March. Ancient Chu music was popular in the pre-Qin period, with eight tones. All major celebrations, sacrifices and banquets must have drum music. Since Han and Tang Dynasties, Jingzhou folk percussion music has been widely used in people's life and production. From the Northern and Southern Dynasties to the Song Dynasty, when people in Jingzhou held folk activities of exorcising exorcism on Laba Festival, "villagers tied waist drums and wore Hu heads to be king kong lux", and people beat gongs and drums and walked around the village to "exorcise the epidemic". During the Tang and Song Dynasties, ships moored at the Yangtze River Wharf in Shashi only had the custom of beating gongs and drums to sail. Since the Southern and Northern Dynasties, the dragon boats in Shashi have used drums, gongs and horses as percussion instruments. In the Song Dynasty, "folk music in the Tang Dynasty was enjoyed by the people", Song Taizu Zhao Kuangyin pacified Jingnan, and 32 outstanding artists from Jingshi Jiangling were incorporated into the Jiao Fang Music Department. The music and playing methods used in Jingzhou Palace in the Ming Dynasty had a great influence on the drum. The performance and music of "Shoudan Waigu" are partly from Sanqu and divertimento in Ming and Qing Dynasties, and partly from Jingchu folk music. Jingzhou City was the seat of the general's office in Qing Dynasty. According to the introduction of the old artist "Shoudan Waigu", the generals in Jingzhou used to play "Shoudan Waigu" when traveling. "Drumming around with baggage" is mainly in the central city of Jingzhou and public security, Jiangling and other places. Meitai Lane, Dugong Lane, Shengli Street, Tugboat Port and other streets and lanes in the city. , each has its own drum. Yuejin Village, Zhanggou Village, Lian Xin Village, Tongxin Village, Sanbanqiao Village, Caoshi Village, Cenhe and other suburbs. The types of Qupai are mainly divided into Shangzi Tune, Liuzi Tune, Zhenggong Tune and Pan Yang. For example, the low-key Dahongpao, the soft-toned six-character Sonapie, the high-profile Feng Jiaxue, and the foreign plate Nalongzhou are all representative works that follow the drum tune. Musicians choose different tunes to play according to different occasions, such as traditional festivals (Spring Festival, Lantern Festival, Dragon Boat Festival and Mid-Autumn Festival), industrial and commercial temple fairs (Bufu Fair, Xuanyuan Fair and Land Fair) and folk festive ceremonies (weddings and birthdays). White wedding (funeral) uses music cards such as (and), six characters and foreign plates. Shoulder drum has formed a basic form among the people since the early Qing Dynasty. It has a rich repertoire, unique musical instruments and exquisite props, which is of great value for protection, inheritance and research.

Death knell is the first batch of provincial intangible cultural heritage in Hubei Province. Playing funeral drums and singing songs of mourning are very popular in almost all parts of the country. In the old custom, adults should "stop" at home for three to seven days after death; At the wake, not only should the lights be brightly lit before the wake, but also singers who can sing the songs of dutiful sons should be invited to play drums and sing all night. In most places, "filial piety songs" only sing and don't dance, while Jingzhou and western Hubei both sing and dance, hence the name "mourning drums". The performance of mourning drums is usually performed in the mourning hall of the deceased at night. Generally, there is a square table in the center of the mourning hall, commonly known as "singing platform". One of the three singers sat by the stage and played a two-foot drum. The other two are singing and dancing in front of the stage with cymbals and bamboo chopsticks. The death knell has a complete performance procedure and a whole set of song and dance movements. First, the drummer (usually the elder) drums the tee joint, shouts "Bai" loudly, and reads some mourning words to indicate the end of the song. Singers playing cymbals appeared on both sides of the stage, hoping that the deceased would bow and hand over, and then began to play cymbals and dance to the rhythm of the drum. As soon as the drums stopped and the dance steps stopped, the dancers began to sing the song of filial son, and the drummer was responsible for helping them. Sing and dance, dance and sing until dawn. During the performance, undertaker will set off firecrackers from time to time to set off the atmosphere. The rhythm of drum singing and dancing is controlled by the drummer. Singing is one beat and dancing is four beats. Dancers should beat the cymbals with the drums during the dance. The method of holding cymbals is very particular. Generally similar to "end bowl". Wrap the ribbon around the cymbal with the index finger and middle finger of your left hand, and then control the pronunciation of the cymbal with your thumb. When the thumb is separated from the cymbal, the cymbal sounds crisp and bright, which is called "Ming strike". Thumb percussion cymbals make a dull sound, which is called "Ming strike". Each percussion instrument has five bars. Drummers and dancers who lost their drums were all male, and their dancing movements were vigorous and powerful. The main dance step is "trembling step" (commonly known as "one step and three trembling steps"), while other dance steps are "four big steps", "curling up", "screaming" and "swinging willows in the wind", all of which originated from production and life, such as "pulling radish" and "swinging willows in the wind".