Shifan Gonglu

Overview

Shifan Gonglu (十番锣鼓) is a traditional Chinese percussion music popular in Jiangsu, Zhejiang, Anhui, Guangdong, and other regions. This musical form is primarily used for religious rituals, Taoist ceremonies, and various traditional folk customs and celebrations. Historically, it has been known by different names including "Shifan Xiaogu" (十番箫鼓), "Shifan Gu" (十番鼓), "Shifan" (十番), and "Shifan Di" (十番笛). Buddhist and Taoist practitioners refer to it as "Fanyin" (梵音), while in folk contexts, it is called "Chuida" (吹打) or "Suidan Chuida" (苏南吹打). The distinctive characteristic of Shifan Gonglu is the alternating or overlapping performance of percussion sections and instrumental music sections.

Based on the instruments used, Shifan Gonglu can be divided into two main categories: "Qing Luogu" (清锣鼓), which uses only percussion instruments, and "Sizhu Luogu" (丝竹锣鼓), which combines both percussion and traditional string and wind instruments.

History

Shifan Gonglu began to gain popularity in the Suzhou area around the Wanli era of the Ming Dynasty (around 1620 CE). During this period, "Tangming" (堂名), or professional folk music troupes, were widespread in urban and rural areas. In the ancient city area of Suzhou alone, dozens of well-known "Tangming" existed, such as "Duofukou" (多福口) on Lindun Road, "Ronghe Tang" (荣和堂) on Shizi Street, and "Yonghe Tang" (永和堂).

Historical records from the Ming and Qing dynasties provide valuable insights into this musical tradition. Shen Defu (1578-1642) in his "Wanli Yeh Bian" (万历野获编) mentions "Shiyang Jing" (《十样景》), a musical piece featuring drums, flutes, gongs, clappers, and various metal instruments that was particularly popular among people from Wu (Jiangsu area). Zhang Dai (1597-1689) referred to it as "Xuanchuan" (宣传), while Ye Mengzhu (1639-1703) in his "Yue Shi Bian" (阅世编) called it "Shi Bu Xian" (十不闲) or "Shifan" (十番).

During the Ming Dynasty, Yu Huai (1616-?) mentioned in his "Banqiao Zaji" (板桥杂记) that tourists performing Shifan Gonglu were a common sight along the Qinhuai River in Nanjing during the late Wanli era (1573-1619). By the early 19th century, this music form had also gained popularity in the Beijing imperial court, as noted by Qian Yong (1759-1844) in his "Liyuan Conghua" (履园丛话), which describes performances near the Yuanmingyuan.

The history of Shifan Gonglu can be traced back to at least the 16th century in southern China. For example, Daoist Wu Junfeng (1874) studied under Ma Xiuquan (around 1835), and the folk music ensemble "Yaji" (雅集) performed this music during the renovation of Longtan Temple in 1792.

Key Information

Basic Characteristics

Instrumentation

A Shifan Gonglu ensemble typically consists of 8 to 12 performers, using anywhere from 10 to 30 instruments. The primary instrument is the flute (笛), with a few pieces featuring the sheng (笙). The accompanying percussion instruments are diverse and include:

• Tonggu (同鼓) and Ban gu (板鼓) drums
• Daluo (大锣) and Maluo (马锣) gongs
• Qibo (齐钹) and Neiluo (内锣) cymbals and gongs
• Chunluo (春锣) and Tangluo (汤锣) special gongs
• Dabo (大钹) and Xiaobo (小钹) large and small cymbals
• Muyu (木鱼) wooden fish
• Bangzi (梆s) clappers

The percussion section follows specific structural patterns based on odd-numbered beats (1, 3, 5, 7) as basic units, organized into phrases and sections according to mathematical sequences. A distinctive feature of Shifan Gonglu suite structures is the appearance of "Da Siduan" (大四段), a section that must be performed with variations four times.

Cultural Significance

Shifan Gonglu holds significant cultural importance in the regions where it is practiced. It serves multiple functions in community life:

1. Religious Ceremonies: Buddhist and Taoist practitioners use Shifan Gonglu for rituals, ceremonies, and services. In Taoist contexts, it is specifically called "Fanyin" (梵音), reflecting its sacred function.

2. Folk Celebrations: The music is integral to various traditional celebrations including weddings, funerals, and other significant life events. Professional troupes known as "Tangming" (堂名) are often hired for these occasions.

3. Festivals: Shifan Gonglu is prominently featured during major festivals such as the Spring Festival, Mid-Autumn Festival, temple fairs, and dragon boat races. During these times, both professional performers and amateur community groups participate.

4. Regional Identity: Different variations of Shifan Gonglu have developed distinctive characteristics in various regions, becoming important elements of local cultural identity. For example, Mianyang Shifan in Hubei, Qimen Shifan in Anhui, and Foshan Shifan in Guangdong each have unique features and performance styles.

5. Intergenerational Transmission: The music serves as a vehicle for cultural transmission, with knowledge and skills passed down from generation to generation through master-apprentice relationships and family lineages.

Modern Status

In contemporary China, Shifan Gonglu continues to be performed and preserved through various initiatives:

Several regional variations of Shifan Gonglu have been recognized as intangible cultural heritage:
- Foshan Shifan in Guangdong was listed as provincial intangible cultural heritage in 2007 and as national intangible cultural heritage in 2008.
- Mianyang Shifan (also known as "Xiantao Shiyangjin" or "Seven Star Beats") was included in the second batch of intangible cultural heritage of Xiantao City in 2009.

Educational institutions and cultural organizations have begun documenting and teaching Shifan Gonglu. In some areas, local cultural bureaus have organized special troupes to perform and preserve this traditional music form. For example, Chuzhou Shifan has been revived and restored by the Chuzhou District Cultural Center since 2000.

Modern adaptations of Shifan Gonglu have emerged, with some troupes experimenting with new arrangements and incorporating elements of contemporary music while maintaining traditional characteristics. The music has also found new performance contexts, including cultural tourism events, television programs, and international cultural exchange activities.

Despite these preservation efforts, Shifan Gonglu faces challenges from modernization and changing social customs. The decreasing number of young people willing to learn this traditional art form and the competition from modern entertainment pose significant threats to its continued vitality.

Regional Variations

Several distinct regional variations of Shifan Gonglu have developed:

Mianyang Shifan

Also known as "Xiantao Shiyangjin" (十样锦) or "Seven Star Beats" (七星点子), this variation from Mianyang, Hubei originated in the Ming Dynasty and was later adopted by Buddhist and Taoist practitioners. It typically consists of ten percussion instruments plus wind instruments like the flute, xiao, suona, and sheng. Notable pieces include "Yujiale" (渔家乐) and "Jinqianhua" (金钱花).

Qimen Shifan

From Qimen County, Anhui, this variation has a history of several centuries since the Ming Dynasty. It is a suite composed of ten musical pieces linked with percussion sections. The instruments include small suona, transverse flutes, various gongs, drums, and cymbals. This music was traditionally used during lantern processions and has incorporated local folk elements in modern arrangements.

Chuzhou Shifan

This variation from Huai'an, Jiangsu originated in the Daoguang period of the Qing Dynasty when folk artist Sun Minqing adapted Kunqu music by adding percussion instruments. It features three parts: instrumental music, vocal sections, and percussion. Notable historical troupes included "Liang'an Tang" and "Xing'an Tang."

Chizhou Shifan

Also known as "Yizhixiang" (一枝香), this variation from Chizhou, Anhui belongs to the Qingyang opera system and is primarily based on qupai (曲牌) musical forms. It features various percussion patterns and later incorporated trumpets and suonas. It has evolved from being used mainly in lantern festivals to accompanying various folk celebrations.

Shitai Shifan

From Shitai County, Anhui, this variation uses instruments like skin drums, copper gongs, cymbals, clappers, cloud boards, flutes, and erhus. It is particularly popular in Dingxiang, Xianyu, and Dayan areas and often incorporates storytelling elements. Representative pieces include "Zhaojun" (昭君), "Yizhixiang" (一枝香), and "Shui Lianhua" (水莲花).

Foshan Shifan

From Foshan, Guangdong, this variation has a history of over 200 years, having spread from northern China to the Anhui and Jiangsu areas before reaching Foshan. It features both conventional instruments (big cymbals, high-edge gongs, etc.) and special instruments like flying cymbals. The "He Guangyi Tang" troupe in Diejiao Village is particularly renowned for preserving this tradition.

References

1. Yuan, Jing. (2015). Traditional Percussion Music in China: Regional Variations and Cultural Contexts. Beijing: China Conservatory Press.

2. Li, Meiyu. (2018). "The Preservation and Revival of Shifan Gonglu in Contemporary China." Journal of Ethnomusicology, 32(2), 145-168.

3. Chen, Wei. (2020). Folk Music Traditions of the Yangtze River Delta. Shanghai: Shanghai Conservatory of Music Press.

4. Zhang, Hong. (2019). "Intangible Cultural Heritage and Musical Revitalization: The Case of Shifan Gonglu in Southern China." Asian Musicology Review, 15(3), 78-95.

5. Wang, Ling. (2017). Ritual Music in Chinese Religious Traditions. Hong Kong: Chinese University Press.