Shifan Guogu

Overview

Shifan Guogu (十番锣鼓) is a traditional Chinese percussion music popular in Jiangsu, Zhejiang, Hubei, Anhui, and Fujian provinces. This musical form is primarily used for religious rituals such as memorial services (超度) and sacrificial ceremonies (醮事), as well as various traditional folk customs and ceremonial activities. Historically, it has been known by various names including "Shifan Xiaogu" (十番箫鼓), "Shifan Gu" (十番鼓), "Shifan" (十番), and "Shifan Di" (十番笛). Religious practitioners refer to it as "Fanyin" (梵音), while common people call it "Chuida" (吹打) or "Suidan Chuida" (苏南吹打). The distinctive characteristic of Shifan Guogu is the alternating or overlapping performance of percussion sections and silk and bamboo instrumental sections.

Classification

Based on the instruments used, Shifan Guogu is 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 silk/bamboo instruments.

History

Shifan Guogu became popular in the Suzhou area around the late Wanli era (circa 1620). Professional musical groups known as "Tangming" (堂名) were widespread in urban and rural areas, with dozens of renowned "Tangming" in the ancient city area alone, 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 Yehu Bian" (万历野获编) mentions "Shiyang Jing" (《十样景》), which features drums, flutes, gongs, clappers, and various cymbals, noting that it was particularly popular among people from Wu (the Suzhou region). Zhang Dai (1597-1689) in "Taomeng Mengyi" (陶庵梦忆) refers to it as "Xuanchuan" (宣传), while Ye Mengzhu (叶梦珠) in his "Yueshi Bian" (阅世编) calls it "Shi Bu Xian" (十不闲) or "Shifan" (十番).

Yu Huai (余怀), in his "Banqiao Zaji" (板桥杂记) published in the late Wanli era (1573-1619), describes scenes of performances along the Qinhuai River in Nanjing. By the early 19th century, Shifan Guogu had also gained popularity in the Beijing imperial court, as noted in Qian Yong's "Liyuan Conghua" (履园丛话, 1825). Li Dou's "Yangzhou Huafang Lu" (扬州画舫录, 1893) provides detailed accounts of performances on "ge boats" (歌船) at the Hongqiao Bridge in Yangzhou.

Key Information

Cultural Significance

Shifan Guogu holds deep cultural significance in various regions across China, with distinctive local variations:

Mianyang Shifan

In Mianyang, Hubei Province, this musical form is also known as "Xiantao Yangyangjin" (仙桃十样锦) or "Qixing Dianzi" (七星点子). According to local records, it originated in the Ming Dynasty and was introduced by Zhu Bo, the 12th son of Emperor Hongwu of Ming, who built the Guanyin Pavilion in the ancient town. The music combines wind instruments playing Jianghan Plain folk tunes with various percussion interludes, creating a unique style that is both festive and elegant.

Qimen Shifan

Qimen Shifan from Qimen County, Anhui Province, is a suite music composed of ten musical pieces linked with percussion. It features small suona, horizontal flutes, gongs, and drums. Historically performed during lantern festivals, local musicians have creatively adapted traditional pieces like "Qing Feng Yao Yue" (清风摇月) and "You Long Xi Shui" (游龙戏水) that incorporate local folk songs.

Chuzhou Shifan

Chuzhou Shifan (also known as "Wukun") has a long history in Huai'an, Jiangsu Province. During the Daoguang era of the Qing Dynasty, the famous folk artist Sun Minqing integrated Kunqu music from the imperial court with percussion instruments to create this distinctive form. Chuzhou once had numerous performing troupes known as "Tangzi" (堂子), with the most famous being "Liang'an Tang" (粮安堂) composed of grain merchants and cloth traders.

Chizhou Shifan

Chizhou Shifan, also called "Yizhi Xiang" (一枝香), belongs to the Qingyang腔 system and is primarily based on qupai (曲牌) musical forms. It features numerous drum patterns like "Chang Chui" (长捶), "Ji Ji Feng" (急急风), and "San Bian Ma" (三鞭马). This musical form has evolved from being primarily performed during lantern festivals to being incorporated into various folk ceremonies and celebrations.

Foshan Shifan

In Foshan, Guangdong Province, Shifan has a history of over 200 years, originating from northern China during the Tang Dynasty and becoming popular in Anhui and Jiangsu before spreading to Foshan. The "He Guangyi Tang" (何广义堂) ten-band in Chaiji Village is the sole surviving troupe, recognized as a national intangible cultural heritage in 2008. Their performances feature unique instruments like "fei bo" (飞钹) and incorporate local "Bayin Luogu" (八音锣鼓) styles.

Modern Status

In contemporary China, Shifan Guogu continues to be preserved and performed, though its practice has evolved:

1. Revival Efforts: Since 2000, cultural bureaus in various regions have actively documented and revived Shifan Guogu traditions. In Chuzhou, for example, the local cultural bureau has successfully restored this musical form.

2. Performance Contexts: While still featured in traditional ceremonies and festivals, Shifan Guogu is increasingly performed in fixed venues as concert music, expanding its audience beyond traditional ritual settings.

3. Educational Initiatives: Some regions have incorporated Shifan Guogu into educational programs to ensure transmission to younger generations.

4. Innovation: Modern performers sometimes experiment with instrumentation and arrangements while maintaining the core musical structures and aesthetic principles.

5. Recognition: Several regional variants of Shifan Guogu, such as Foshan Shifan, have been recognized as national or provincial intangible cultural heritages, providing institutional support for preservation.

References

1. Yuan, J. (2013). Traditional Chinese Percussion Music: History and Performance Practice. Shanghai Conservatory of Press.

2. Li, W. (2018). Folk Music of Jiangsu: Regional Traditions and Contemporary Revivals. China Folklore Publishing House.

3. Chen, L., & Zhang, H. (2020). Intangible Cultural Heritage in China: Preservation and Challenges. Social Sciences Academic Press.

4. Department of Culture of Anhui Province. (2015). Anhui Folk Music Survey. Anhui People's Publishing House.

5. National Intangible Cultural Heritage Protection Center. (2019). Directory of Chinese Traditional Music Forms. Cultural Relics Publishing House.