Language
Zhuang is one of the major languages ??in China, with a population of about 20 million (including Buyi and Dai-Nong). The Zhuang language belongs to the Tai language branch (Zhuang Dai language branch) of the Dong Tai language family (Zhuang Dong language family) of the Taiwan-Kadai language family. It has a very close affinity with Thai, Lao, Dai, Shan and other languages. There are many foreign languages. Scholars refer to Zhuang language as "Northern Tai" language. The northern Zhuang dialect and Buyi language both belong to the northern group of the Tai language branch, and the southern Zhuang dialect and the Dai-Nong language of Vietnam both belong to the central group of the Tai language branch. In addition, Thai, Lao, Dai, Shan, etc. form the southwestern group of the Tai language branch.
The Zhuang language is still commonly used in rural areas and some towns where the Zhuang people live together, but the Zhuang script has not become popular due to various reasons; now some Zhuang people scattered in some counties and cities use Chinese as their daily language. However, the urban Zhuang people account for a small proportion of the total Zhuang population. Overall, Zhuang people whose mother tongue is Zhuang still account for more than 90% of the Zhuang population. At the same time, more and more young Zhuang people have learned to use Chinese proficiently and become a bilingual Zhuang-Chinese population. The bank name and denomination written in Zhuang characters are printed on the RMB.
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Zhuang medicine
Zhuang medicine began to sprout in the pre-Qin period. After the development of the Han, Wei and Six Dynasties, it has been around the Tang and Song Dynasties. A multi-level structure of Zhuang medicine with more than 10 connotations including oral administration of herbal medicine, external washing, fumigation, application, wearing medicine, bone scraping, angle therapy, moxibustion, acupuncture, golden needle, etc. has been formed, and has gradually formed the prototype of a theory. .
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Zhuang brocade
Traditional hand-woven brocade of the Chinese Zhuang ethnic group. It is said to have originated in the Song Dynasty. Cotton and linen threads are used as the ground warp and ground weft plain weave, and thick and untwisted silk is used as the colored weft and woven into the pattern, forming a symmetrical pattern on the front and back of the fabric, completely covering the ground tissue, and increasing the thickness of the fabric. Its color contrast is strong, its patterns are mostly rhombus geometric patterns, its structure is rigorous and varied, and it has a rich and rough artistic style. Used to make dresses, quilts, backpacks, tablecloths, etc. The main producing areas are located in Jingxi, Xincheng, Binyang and other counties in Guangxi. The traditional patterns mainly include more than 20 kinds of patterns such as two dragons playing with beads, back patterns, water patterns, cloud patterns, flowers, animals, etc. In recent years, more than 80 new patterns have appeared, such as "Guilin Landscape" and "National Unity". Rich in national style.
The Zhuang nationality is a nation with a long history. In ancient times, the Zhuang nationality was called the Li tribe, the Liao tribe, the Shao tribe and the Tu tribe.
Zhuang Jin
The Zhuang people have a very ancient history and have lived in parts of Guangxi, Yunnan, Guizhou and Hunan in southwest China for generations. Zhuang brocade is also called "child brocade" and "velvet quilt" and is thicker. Zhuang brocade, known as one of China's four famous brocades, is a national cultural treasure of Guangxi. This exquisite handicraft made of cotton or silk threads has vivid patterns, rigorous structure, colorful colors, and is full of warm and cheerful national style, embodying the national style of Guangxi. Zhuang people’s pursuit and yearning for a better life. "Guangxi Tongzhi" records: "Zhuang brocade comes from various states and counties. Zhuang people love colors. All clothes, skirts, scarves and quilts are made of five-color velvet, mixed with woven fabrics in the shape of flowers and birds. It is quite skillful and dazzling from a distance, but thick and strong when viewed from a short distance." People value it. ”
Zhuang brocade is made of cotton yarn as warp and various colored velvets as weft on a hand-loom equipped with support system, transmission device, splitting device and jacquard device. A work of art created by ingeniously interweaving the warp and weft.
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Zhuang Fist
Zhuang Fist, a local boxing in Guangxi, is popular in the Guangxi Zhuang Autonomous Region.
There are thirty-five sets of routines. The routines are short and the content is concise. The structure is rigorous, the movements are simple, the punches are strong, the lower body is stable, there are many short strikes, good at palm marking, and few jumping kicks. The four gates are used as the path for advancement and retreat. It is often accompanied by Zhuang language sounds, using the sound to help, and using Qi to promote strength. The practice methods mostly use standing stances, sandbags and tree stumps. "Putting bananas", "grasping stones and wiping hands", "walking plum blossom piles", "seven-step iron wire basic pile skills" and other exercises.
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Music and art
Zhuang folk songs
Zhuang folk songs are particularly developed. Zhuang people, both male and female, begin to learn to sing folk songs when they are four or five years old. Fathers teach their children, and mothers teach their daughters. This has formed the custom of teaching songs to young people, singing to young people, and teaching songs to old people. In rural areas, folk songs are used to express feelings whether they are farming in the fields, cutting firewood in the mountains, weddings or funerals, festivals or social love between young men and women. In some places, even conversations and quarrels between family members are sometimes represented by songs. Singing has almost become an indispensable part of the lives of the Zhuang people. Everyone can sing, everyone can sing. Therefore, the vast Zhuang Township is known as the "Sea of ??Songs". It is called "the land covered with piano keys" by poets. In history, there have been many famous singers like Liu Sanjie and Huang Sandi who are called "Singing Immortals" and "Singing Kings".
Zhuang folk songs can be divided into forms, including leg-breaking songs, row songs, and San songs. Pai song is a free form of Zhuang poetry. Each poem only chants one thing, sometimes up to more than 300 lines. The more famous long narrative poems include "Buber", "Buluo Tuo", "Lang Ge", "Song of Horse Bone Hu", "Liu Qiu He Da Qi", "Mo Yi Wang", etc. Among them, the performance form of "Lang Ge" is more special. It does not tell a complete story in a narrative way, but uses the annexation and war of feudal lords as the background, and expresses the joys and sorrows of a young man and woman through lyrical duets.
A group of four sentences, asking questions and answering each other. When taken apart, it is an independent lyric poem, and when connected together, it is a story poem with a beginning and an end.
Zhuang folk songs are vast and of various types. From the content and form, they mainly include ancient songs, narrative songs, life songs, labor songs, current affairs songs, ritual songs, love songs, nursery rhymes, etc. There are many folk songs in Zhuang Township, but when they are sung, they must abide by the agreed etiquette and cannot be sung indiscriminately. Especially political songs, ceremonial songs and love songs, there are rules on which occasions they should be sung. For example, love songs can be sung as much as you want in the Yege Fair, but you cannot sing them at home, in front of your parents, or in the Yege Fair. In ritual songs, what should be sung for sacrifices, what should be sung for weddings, and what should be sung for funerals should never be confused. There are also different welcome songs to welcome different guests.
Gèngwei
Zhuang Gewei
In Zhuang language, Gewei includes Songs of Chutiandong, Songs of Mountain Cave, Powei, and Dongshi Wait for the name. It is mostly held on mountain and forest slopes during the off-season or festivals such as the Spring Festival and Mid-Autumn Festival. At that time, men, women, old and young, all dressed up, will attend the meeting, ranging from hundreds to tens of thousands. It usually features young men and women singing duet folk songs. Recreational activities such as throwing hydrangeas, touching Easter eggs, and setting off fireworks were also held.
Sing fair is an ancient custom of the Zhuang people, with widespread mass appeal and a long history. It is said that there was a singing fair in the Tang Dynasty. For example, it is recorded in Volume 8 of "Guangdong News": "Liu Sanmei, one of the emerging women, is said to be the first person to compose songs. She was born during the reign of Zhongzong of the Tang Dynasty (684~709) at the age of 12. She was proficient in classics and history, good at singing, and could sing songs even within a thousand miles. Those who came after hearing the name of the song... tried to sing with the young people from Baihe Township on the mountain. Cantonese people, Yao people, children and other people gathered around to watch. Hundreds of men and women thought they were immortals. They sang continuously for seven days and nights, and they all turned into immortals. "Song Dynasty's "Taiping Huanyu Ji" Volume 163 talks about the customs in Xinyi County of Douzhou and Pingle County of Zhaozhou: "When the grain is ripe, the grains are harvested together, and the day of Xu is wax, and men and women dress in fine clothes. , put on their buns, and gather together to compose songs."
Singing fairs are usually held during festivals, such as the Spring Festival, March 3rd, Hungry Ghost Festival, Mid-Autumn Festival, etc. There are also temporary singing fairs. The size of song fairs ranges from large to small. There are tens of thousands of people in big songs fairs and hundreds of people in small songs fairs. A large song fair often lasts for two or three days. During the day, the song fair is called the day song fair, which is usually held on the hillside or in the fields outside the village; at night, the song fair is called the night song fair, which is held in the village. Whenever the singing fair comes, young men and women of the Zhuang ethnic group dress up in costumes, bring gifts, and gather at the singing venue from all directions to look for singers. At noon or when night falls, there will be a climax of antiphonal singing, mainly between men and women singing to each other. There are group antiphons and there are two pairs of antiphons. The content of antiphon songs is very wide, including astronomy and geography, history and politics, all aspects of production and life, including love songs, bitter songs, ancient songs, farming songs, flower songs, pan songs, etc.
The song fair is a place for Zhuang people to carry out cultural and entertainment activities, and it is also a place for unmarried young people to sing and talk about love. Most of the songs sung at the fair are highly refined from the language of daily life, with vivid, simple, and profound characteristics. The lyrics are rhymed, singable, and easy to remember. The artistic techniques of fu, comparison, and xing are often used alternately. Unmarried young people freely choose their beloved partners at the song fair. When they sing well, they throw hydrangeas to each other (in some areas, cooked red eggs are thrown to each other) or give gifts to establish love.
Pingguo Lou Song
The "Langge type" folk songs (also called Huanlang) sung with the words "嘹嘹" are "spread in a wide area, mainly in Pingguo" As the center, it goes up to Tiandong, Tianyang, Baise and other counties in the upper reaches of Youjiang River, and down to Wuming County, and is also sung in Mashan and Bama in the Hongshui River Basin" ("General History of Zhuang Nationality").
"Langge is the name of a popular song style in Pingguo County in the middle reaches of Youjiang River. It includes three contents: one is "Sunge", the other is "Night Song", and the third is "Sange" "" ("General History of the Zhuang Nationality").
Seventy-two Wu Diao Music
The seventy-two Wu Diao music of the Lingyun Zhuang people is mainly performed by a single person. Initially, there were only a few scales and the singing method was simple.
The lyrics are mostly narrated in Zhuang dialect, expressing grief and prayer. In the continuous integration and development, the seventy-two witch tune music became more and more complex and beautiful, and finally formed the seventy-two tunes, which were named after the seventy-two cultural and natural attractions in Lingyun. Each tune has its own grace and softness. Some are passionate, some are sad and heartbreaking; the content is becoming more and more entertaining and positive.
According to expert research, as early as 3,000 years ago, the ancestors of the Zhuang people were cultivating and thriving in Lingyun. In front of nature, the ancestors of the Zhuang ethnic group appear small and powerless. The men who go to the mountains to farm and hunt often never come back. Diseases and natural disasters often claim people's lives. In order to express their grief, relieve grief, avoid disasters and express their ideals, Zhuang women gradually formed the Zhuang seventy-two witch tune music in their long-term production and life.
There are two main types of musical instruments in the Seventy-Two Witch Tune. The still life objects include velvet fans, unicorns, phoenixes, and sachets, and the noisy objects include bells, copper beads, and wild rice. During the singing, bells and foot-tapping are the main soundtracks. A fan with a copper bell is held in the left hand, and a red handkerchief with a bell is held in the right hand. The singing, bells and foot-tapping rise and fall at the same time. Different styles and personalities are constantly reflected in the modulation, and the soft, fierce, and loose boards are distinct. In particular, the adagio is like a clear stream or slowly drifting clouds, reflecting the wonderful agility of nature.
Seventy-two witch tune music has a mysterious color that cannot be explained by modern science. For example, Zhuang witches burn incense and set up altars, sing witch songs, and perform rituals. They can change various accents and languages ??in a trance state. , asking and answering questions, talking to the dead, and letting the living know the situation of the deceased in the underworld.
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Dance
Zhuang dance originates from the imitation of hunting, but it is often closely related to the activities of wizards to reward gods. Shamans always dance and sing while worshiping gods, music to ward off disasters and pray for blessings. The earliest record of the Zhuang dance in the Huashan mural is actually an ode to the Frog God by the ancestors of the Zhuang people at that time. The shape of this dance is that the arms are open and the elbows are raised upward, and the legs are squatting into a lunge. The movements are rough and powerful, and are full of characteristics. It is called the frog dance posture. During the Wei and Jin Dynasties, when officials worshiped ghosts and gods, they danced with ghosts to encourage them. In the Song Dynasty, there were Nuo teams in Guilin and northern Guangxi, wearing masks and performing dances to honor the gods. Witch dance was spread until 1949, and was divided into Shigong dance and Wu Jin dance. It was a part of superstitious activities. The master dances with ghost-faced shells, one for each god, up to more than 30, and each god has different movements and lyrics. The witch dance is performed by witches when they pretend to be gods and ghosts. They dance with their arms and legs as if they are possessed by gods. There are other dances related to honoring gods, such as Bronze Drum Dance, Spring Ox Dance, New Year Dance, etc.
Other folk dances of the Zhuang ethnic group mostly imitate labor movements. According to statistics, there are dozens of dances that express labor and love life. Famous ones include Chungtang dance, pole dance, bee drum dance, tea picking dance, bucket dance, hydrangea dance, shrimp fishing dance, peach leaf dance, turtle dove dance, etc.
Fire Cat Dance
Returning the harvested rice grains to the warehouse and preventing the rice from getting moldy and being eaten by nasty rats are what farmers worry about most after a good harvest. Cats are the natural enemies of rats. In order to ensure the safety of the rice in the granaries, Zhuang families gathered in Wuzhou, Guangxi, held a unique sacrificial ceremony called "Fire Cat Dance" to ask the cat god to help people eliminate rats and protect the harvest.
Fire Cat Dance
At that time, about 20 young men and women who played the role of "cats" wore brightly colored dresses decorated with layers of fringed cat fur, and wore A headband made of straw and a long straw braid that is extended and hung behind the back, shaped like a cat's tail, and "burning incense" is inserted into the straw braid "from beginning to end", above each person's forehead. Then tie on a pre-drawn mask "big cat head".
In front of the cat team, a woman with a silver hairpin in her hair, a bouquet of flowers, and an embroidered shawl with tassels led the team, followed by two young girls holding hexagonal palace lanterns with auspicious sentences written on them and three others. The famous men who played the ram's horn together formed the leader of the sacrificial procession. Amidst the brisk and rhythmic percussion of the gongs and drums band and the melodious horn sound, the cats immersed in the mist of cigarette smoke were led by the fairy-like leading woman. Next, step into the performance venue
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The cats began to perform. In the process of constantly changing various formations, they simulated various postures such as walking and jumping, catching live food, stretching and hunching, licking and tickling, and playing with each other.
, It really feels like entering the "Cat Kingdom".
Next, the cats imitated the way humans offer sacrifices to gods. Under the dots of bean light and smoke filled with burning incense behind their backs, they clasped their hands and bowed frequently, asking the big cat god in heaven to come down to earth. , to eradicate rodent pests for the people.
While the cats danced in a circle to entertain the cat god, one cat was dressed up by two people. The former held up a black and white patterned "cat head" with both hands, and the latter pretended to be a "cat body" and "cat tail" "A plump big cat wearing pure black "cat skin" appears. Sometimes it was leisurely observing the four directions, and sometimes it climbed up a tree and climbed up a tall stalk erected in the circle, looking into the distance to search for the hiding places of the big and small mice. Then he jumped down from the tree and quietly held his breath waiting for the appearance of the big and small mice.
At this time, the cats began to perform a dance that simulated the last process of harvesting
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harvesting grain into the warehouse. While they were dancing with joy for a good harvest, a big rat spirit with a pointed "rat head" and a gray "rat skin" entered the grain farm with an exaggerated dance of peeping around, sneaking around, and sneaking around. After entering the yard, they saw granaries placed unattended in the quiet yard, so they danced with joy and prepared to immediately start breaking into the barns to steal grain. Just when the rat spirit was getting carried away, the big cat god hiding nearby jumped out with a loud roar. The rat spirit, who was originally trying to resist, saw the ferocious giant cat god and begged for mercy but failed, so he immediately ran away in a hurry, hoping to escape from the claws of the natural enemy cat god and survive.
The "Fire Cat Dance", which is very cordial and full of good hope, ends with people cheering and the cats jumping and dancing to thank the Cat God for eliminating rat demons for the people and to celebrate the harvest. The results are no longer plundered in the climax.
Bear Pole Dance
Bear Pole Dance
Bear Pole Dance, also known as carrying pole, is popular in Du'an, Mashan, Donglan, Nandan, Guangxi, etc. county. The performance is held every year from the first day of the first lunar month to the Lantern Festival, and the venue is the grain drying field in front of the village. There are four, six, ten, and twenty performers, all in even numbers, and most of them are women. When performing, the dancers hold poles and stand facing each other, surrounding a wooden trough or bench that is more than one foot long and one foot wide. Everyone shouts and hits each other up, down, left, and right, singing and dancing while beating, simulating farming activities. The movements include raking fields, transplanting rice seedlings, scooping water, harvesting, threshing grain, and pounding rice.
Dancers sometimes fight in pairs, sometimes four people fight across each other, sometimes multiple people fight in succession; there are standing, squatting, lunging, turning around, etc. The weight, strength, speed and slowness are well-proportioned, the movements are graceful and natural, and the whole dance is graceful and fresh. In 1955, this dance was selected to perform at the National Mass Amateur Song and Dance Observation Conference and won the Excellence Award. The pole dance is still loved by the Zhuang people for entertainment.
Shrimp fishing dance
This dance is popular in Debao County, Guangxi. It vividly depicts the scene of a young Zhuang woman going to a small river to fish for shrimps under the bright spring light, and encountering several young men fishing by the river. The actions of the performance are fishing and grilling; the way of the performance is: two young men are fishing by the river with fishing rods in their hands and fishing baskets on their backs. Not long after, four young women came. They held fishing winches in their hands and fish baskets tied to their waists, and went down to the river to catch fish and shrimps. Men greet women and sing folk songs; women also sing folk songs in reply. In the loud singing of men and women asking questions and answering questions, both men and women danced gracefully. The formation changed three times and they sang in duet three times. The scene was leisurely and warm. Most of the songs sung are about love and a good harvest of fish and shrimp. This dance is still popular among the people today.
Paper Horse Dance
The Paper Horse Dance, also known as Paper Horse Dance, is a ritual and funeral dance of the Zhuang people spread in Wenshan, Maguan, Yanshan and other places. In Wenshan County, it is mainly popular in the residential areas of the Zhuang ethnic group in the Xiazhai, Shuichezhai, Xinpingba and Gaomo areas of Panzhihua.
Paper Horse Dance
The paper horse is made of bamboo strips tied into the shape of a horse and then painted with paper paste. The paper horse has a head, eyes, ears, mouth, body and tail but no feet. Before the dance, the dancer gets into the hollow of the paper horse's belly, puts the paper horse around his waist, and dances while holding the paper horse's waist with both hands. Most of the dancers were eight adult women. Among them, there are two paper horse dancers, two broadsword dancers, and one knife dancer, ghost mask dancer, handkerchief dancer, and lion dancer. When dancing, the basic movement is to take off on one foot and land on both feet. Whenever the left foot takes off, step the right foot forward to the left; when the right foot takes off, the left foot steps forward to the right. When jumping to the third beat, the stepping palm needs to tap twice on the ground. When dancing around the field, the dancer wearing the ghost mask should take care of each other with the dancers in front and behind, and the left and right feet and steps of the jump must be consistent. In the dance, horses fight against horses, lions fight against scarves, ghosts fight against knives, and broadswords against broadswords. Those who dance the paper horse must follow the footwork, rhythm, and rhythmically shake the horse's head left and right, so that the two "horses" bite, kick, and fight each other. The horse bells jingled on the dance floor and dust flew everywhere, just like fighting on the battlefield.
The Bronze Drum Dance
The Bronze Drum Dance is one of the most widespread and influential ancient dances among the Zhuang and Yi people in Wenshan Zhuang and Miao Autonomous Prefecture, Yunnan Province. It is distributed in Guangnan, Mali Zhuang and Yi villages in Po, Funing, Xichou, Maguan, Qiubei and other counties, while the Zhuang and Yi ethnic groups in Guangnan County and several Bailuo branches of the Yi ethnic group in Xinzhai Township of Malipo County and Muyang Township of Funing County The copper drum is the most representative. Bronze drum dance is an ethnic group dance. The dancers form a circle and dance counterclockwise to the rhythm of the drums. After completing one set of dance moves, they dance another set. The content reflects the farming and production life of the Zhuang and Yi people. The bronze drum dance of the Zhuang people in Majui Village, Nasa Town, Guangnan has completely preserved twelve sets of dance movements, reflecting the different production contents of the four seasons and twelve months of the year. Bronze drums in several villages such as Malipo and Funing are mainly used in folk activities such as praying for rain, praying for a good harvest, and funerals for the elderly. The bronze drum dance of Zhuang and Yi people is widely spread, with simple movements and rich dance vocabulary. During the Zhuang Bronze Drum performance, one person beats the bronze drum, and the other person uses a wooden box to assist to form a glide sound, which cannot be found in other music performances. The Yi people's bronze drum playing is a specialized skill. One person can play twelve tone combinations using a male and female bronze drum, referred to as twelve tones. It is said that the male drum represents the sun, the female drum represents the moon, and the twelve tunes represent the twelve months of the year. Therefore, the bronze drum drum of the Yi people also contains the calendar cultural content of the local nation, accumulating the nature worship and ancestor worship of the Zhuang and Yi ancestors. , maintain the survival and development of the nation and other aspects of historical and cultural connotation, have distinctive national and regional characteristics and important historical, cultural and artistic value.
Emerald Dance
The Zhuang's Jade Dance is a dance that uses bamboo or iron wire to form the skeleton of an emerald bird, and then decorates it with green wool to resemble the emerald bird, and performs the bird's daily life activities. . According to old artists, more than 200 years ago, due to internal strife within the ruling class, wars continued for years, and droughts and floods followed one after another, leaving the working people in dire straits. At this time, a desire to pray for peace and freedom became the strong desire of the Zhuang people. However, the Zhuang people are a nation with amazing intelligence and talent, and they know that this wish cannot be realized under feudal rule. However, it is possible to pursue spiritual masturbation and spiritual self-entertainment and reflect them through other forms. So folk artists discovered a kind of bird in their work, production and life-the emerald bird. Not only are its feathers brightly colored and extremely beautiful, but its character is docile, kind, not bullying the opposite sex, and hard-working and self-reliant, which is exactly in line with the attributes of this nation. It imitates the lively and dexterous movement characteristics of the emerald bird: its beautiful shape, its diligence Self-reliance, yearning for freedom and beautiful beliefs. In order to reflect the Zhuang people's national characteristics of diligence, integrity and kindness, and stimulate the Zhuang people's strong desire to pursue a happy and happy life.
Shigong Opera
The "Shigong Dance" of the Zhuang nationality is a sacrificial dance belonging to the Meishan sect that is popular in Wuming, Yongning, Du'an, Qinzhou and other counties in Guangxi.
It has a long history, a relatively rich dance vocabulary and rich ethnic characteristics, and is an important part of Zhuang folk dance.
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Musical instruments
Bee drum
The bee drum is a thin-waisted drum popular in the Guangxi Zhuang Autonomous Region. It is named after its resemblance to a wasp's waist, and is also known as the "horizontal drum" because it is played horizontally in front of the chest. Its style and playing method are similar to the Korean janggu, and they come from the same source.
Bee drums were not only called "battle drums" in ancient times, but also "beat drums" and "zhenggu". They became popular in the Northern Wei Dynasty, so they were also called "Wei drums". It has a history of more than 1,000 years.
Horse Bone Hu
Horse Bone Hu
Horse Bone Hu is called "Ran Du" and "Ran Lie" in Zhuang language. "Ran" is the general name for Huqin, and Du means bone, which means Huqin made from the bones of horses, mules, and cattle. Therefore, it is usually called horse bone beard or bone beard. In Zhuang language, it is also called "Ran Lie" and "Ran Sen". "Lie" and "Sen" both mean small size and high and sharp pronunciation. "Ranlie" is composed of the names of a legendary pair of young men and women. The shape is similar to the Xiqin type of musical instrument, and the sound is crisp, bright, and pleasant to the ear. It is often used for solos, instrumental ensembles, or as accompaniment to folk songs, rap music, Zhuang operas, Buyi operas, and other dramas. Popular in Baise areas in western Guangxi such as Longlin, Xilin, Tianlin, Baise, Leye, and Lingyun in Guangxi Zhuang Autonomous Region, Xingyi, Anlong, Zhenfeng, Ceheng, Wangmo and other Southwest Guizhou Buyi and Miao Autonomous Prefectures in Yunnan Province Funing County, Wenshan Zhuang and Miao Autonomous Prefecture and other places.
The Qintong was originally made from a section, but is now made from multiple pieces of horse, mule or cow thigh bones. It is 10-12cm long, 5cm in diameter, oval in shape, and the front mouth is covered with snakeskin or fish skin. or frog skin, open at the back. The piano pole is made of mahogany or red chun wood, thick at the top and thin at the bottom, 46-60 cm long, with a carved horse head as decoration on the top. There are two axes, originally made of yellow (a kind of deer) antlers, now made of mahogany wood. Zhang two steel strings. Tuning d1, a1, range d1-e3, two more octaves.
When playing, the piano tube is placed on the leg, the left hand holds the piano to press the strings, and the right hand holds the horsetail bow to play between the two strings. The timbre is similar to Jinghu and softer. Commonly used techniques include forward bowing, backward bowing, small jumping bow, bow bowing, tapping, appliqué, portamento, etc. It is used for solo, eight-music ensemble, moren rap and Zhuang opera accompaniment. It is the main instrument of the Eight Music Bands and also plays the leading role in the Zhuang Opera Band.
Chenni
Chenni is a stringed instrument of the Zhuang nationality. Popular in Donglan, Fengshan, Bama and other places in Guangxi Zhuang Autonomous Region. "Cheng" is the pronunciation of "Qi" in Zhuang language, and "Ni" is the collective name for musical instruments among the Zhuang people. It is also called "Zhuang lyre" or "Waqin". It was already popular in western Guangxi in the early Ming Dynasty and has a history of 600 years.
Chenni has a simple shape and is composed of a sound box, a mountain, a peg, a piano post, a string and a bow (picture). The sound box is the piano body, which is a horizontal semicircular hollow body. It is made of a panel and a bottom plate glued together. The panel is a semicircular arch, made of paulownia wood. Locally produced paulownia wood is mostly used. A whole log is broken into two halves. The inner cavity is hollowed out with half of the log, and a semi-tubular circular groove is carved. The convex surface is planed. The light becomes a semicircular piano surface, and the panel thickness is 0.7 cm to 1 cm. The bottom surface is straight, mostly made of pine or fir thin boards, with a thickness of 0.5 cm to 0.8 cm. There is a small circular hole and a large crescent-shaped hole on the bottom plate, with the two holes facing each other. After the panel and base plate are glued together, both ends are transparent and there is no sound window. The length of the piano case is 60cm~70cm, the bottom width is 16cm~17cm, and the middle height is 7cm~9.5cm. There are Yueshan (string pillow) branch strings 5.5cm to 8cm away from both ends of the piano surface. The Yueshan is made of hardwood and is in the shape of a semicircular strip. The bottom is connected to the panel. The height of the Yueshan is 1.3cm to 1.5cm. Bottom width 1.4cm~1.6cm. Between the head of the piano and Yueshan, seven pegs are arranged vertically at equal distances. The pegs are made of hard, fine-grained wood such as teak. The local wood is often made of wood called "Fewai" in Zhuang language. It is conical in shape, and the shaft handle is mostly spherical. There are seven circular string holes on the outside of the mountain at the end of the piano for the strings to pass through. Qin pillars are also called bridge horses. They are made of wood called "Buyou" in Zhuang language. They can also be made of plum wood, walnut wood or ox horn. They are shaped like ancient Qin and Han coins or herringbones. There are small holes on the upper ends of the pillars, and the strings are Pass through its hole and support the strings on the piano surface. Seven columns are arranged diagonally in the middle of the panel. Zhang Qin has seven strings, which were first made of brown silk or horsetail, then sheep casings, and now silk or steel strings are used. One end of the string is wound around the peg, and the other end is passed through the string hole, and is tied to a small wooden stick inside the string hole, or the string head is knotted inside the hole, or some strings are tied directly to the Kotoo mountain by drilling holes. The bow is made of bamboo pieces or thin bamboos and is tied with horsetail as bow hair. The length of the bow is 50 centimeters.
Zhuang Sanxian
Zhuang Sanxian is a plucked string instrument of the Zhuang ethnic group. The shape of the small sanxian is similar to that of the Han and Lahu people, and its sound is crisp and bright. It is mainly used in Zhuang eight-note ensembles or as accompaniment for Zhuang operas and raps. It is deeply loved by the Zhuang people. It is popular in various places in western and southern Guangxi such as Longlin, Xilin, Tianlin, Leye, Lingyun, Baise, Tianyang, Tiandong, Debao and Jingxi in the Guangxi Zhuang Autonomous Region.
Tian Qin
Tian Qin is a plucked string instrument of the Zhuang ethnic group. The partial dialect is called Ding Ding. It is named after the homophonic sound produced by the instrument. It has a long history, unique shape, and mellow and bright tone. It is often used for solos or as accompaniment to songs and dances, and is deeply loved by local people. Popular in Fangcheng Autonomous County of Guangxi Zhuang Autonomous Region, Ningming and Longzhou.
It has a history of thousands of years.
It has been spread among the Zhuang people two hundred years ago. It was originally used by Tianpo (witches) to save people from disasters and cure diseases. Later, this kind of witchcraft music and dance evolved into a mass entertainment activity, but it is still called singing, playing and dancing. The musical instrument used is called Tianqin. The traditional lyra is about 120 centimeters long. The piano pole is made of wood and carved with dragon patterns. The head of the piano is carved into the shape of a phoenix, handsome seal, sun or moon, with a wooden peg on the left and right sides. The Qin tube is made of gourd or Ma bamboo tube. It is hemispherical, 10 cm thick, with 11 laminated bamboo shells or thin paulownia boards on the front, 11 cm in diameter, and an engraved pattern on the back end for a sound window. Bamboo musical instruments and silk strings. Each part of the piano body can be disassembled and assembled, making it easy to carry. The modern Tianqin has a 90 cm long, semi-cylindrical stem with no decoration. The headstock has a flat top, the barrel is made of gastrodia bamboo or iron, round, 10 cm in diameter, covered with snake and python skin, and has silk or nylon strings. Set the strings c1, g or d1, g. The inner strings are set to high pitch and the outer strings are set to low pitch. Vocal range g-g3.
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Zhuang Opera
Zhuang Opera, also called "Zhuang Opera", is developed on the basis of Zhuang folk literature, singing, dancing and rap skills. It's done. In the old days, the Zhuang people called themselves "Butuo", which means "indigenous" and "local people", and called Zhuang opera "Changtuo", which means "local opera", to distinguish it from Han opera
Zhuang opera
p>Due to differences in regional environment, dialects, music, performance styles and accompanying instruments, Zhuang opera has produced North Road Zhuang Opera, South Road Zhuang Opera, Zhuang Shigong Opera (also known as Zhuang Shi Opera) in Guangxi, and Yunnan Zhuang Opera Funing Zhuang Opera, Guangnan Zhuang Opera and other branches. Among them, Guangxi North Road Zhuang opera is popular in areas where the northern dialect of Zhuang is spoken. It uses horse bone Hu, gourd Hu, Yueqin and other accompaniment instruments. The singing tunes mainly include Zhengdiao, Pingdiao, Buya tune, Maocha tune, scolding tune, hateful tune and so on. Ban, crying tune, mourning tune, etc., some characters have specific singing tunes, the repertoire includes "Buya", "Wenlong and Xiaoni", "Liu Er Dafangui", etc.; Guangxi South Road Zhuang Opera includes Zhuang puppet show and Ma'ai Zhuang opera is popular in areas where the southern dialect of Zhuang is spoken. It uses Qinghu, Houhu, Xiaosanxian and other accompaniment instruments. The singing tunes mainly include flat, sighing, picking flowers, Xi tune, Kuai Xi tune, high tune and crying tune. , cold tunes, poetic tunes, etc., are performed in the form of accompaniment, and the repertoire includes "Treasure Gourd", "Hundred Birds' Clothes", etc.; the Zhuang Shigong Opera was born out of the folk songs and dances taught by the Zhuang Shigong to entertain gods and spread in Hechi, Liuzhou, Guangxi, In Baise and other places, people wore red clothes and wooden masks at first, and later changed to costumes, accompanied by bee drums, gongs, cymbals and filmless flutes. The repertoire includes "Mo Yiwang", "Girl on the White Horse", etc.; popular in Funing Zhuang Opera and Guangnan Zhuang Opera in Yunnan are greatly influenced by Han local opera and have other characteristics.
Zhuang opera is rooted in the soil of national life. It is a long-standing and unique drama created by the Zhuang people. It is a bridge for ethnic cultural exchanges in Southeast Asia.