The successive generations of the Feng family's Dao Ban and even the entire Feng family in Qunle Village are descendants of Feng Deku, an official of the Qing Dynasty. Feng Deku resided in Ningbo, an official, because the emperor dismissed and copied his family, so in the third year of the Qing Dynasty Tongzhi (1864 AD), he moved to the eastern barren beach of Cao Lu to live." It is said that Feng Deku later became a Taoist priest and practiced good deeds. This story is too old and unsupported by historical evidence to be true or false, but the hardships of the Feng family's founder seem to have provided a historical cause for the beliefs of their descendants.
There is no other record of this, and there is no content on the Internet, so I can't find it.
The Flower Basket Lantern Dance was created in the Cao Lu area of Pudong and has a history of nearly 50 years. It originated from the "Wearing Lights Dance" in the Taoist ritual ritual "Nine Phantom Lights" more than a hundred years ago.
In 1956, Taoist artists Xue Zhaonan (1914-1992) and Feng Bingkui (1922-1996) were inspired by the Party's "Double Hundred" policy to adapt the Dance of the Wearing of the Lanterns, changing the male dance to a female dance, and changing the nine Taoist priests to eight village nuns. Replaced some of the formation and props, becoming eight girls each holding a lantern in one hand and a handkerchief in the other, with the basic steps of the opera Dan step, around the four lights on the ground indicating the southeast, northwest and north-west directions, interspersed with a variety of graphics of folk dance. The dance was rehearsed and performed by the former Gu Lu District Gu Dong Amateur Theater Troupe, which went to Beijing in March 1957 to participate in the Second National Folk Music and Dance Concert, and was awarded the excellent prize for creation and performance. All the cast and crew were received by Zhou Enlai, Zhu De, Dong Biwu, Peng Zhen, Li Yu, Zhou Yang, Liu Zhiming and other central chiefs in Huairen Hall, and took a group photo.
After returning from the Beijing performance, Xue Zhaonan, Feng Bingkui and others made a big modification to the "Dance of Wearing Lights" by removing the four bottle-type "Peony Lamps" originally placed at the four corners of the stage, discarding the handkerchiefs and changing the "hexagonal lamps" into "flower baskets" in their hands. This change finally broke through the framework of the original "wearing lamps" and made the new folk dance stand out, which was named "Lantern Dance". 1959 New Year's Day, "Lantern Dance" won the first prize of the folk dance in Shanghai's 1958 Annual Mass Literary and Artistic Creation Competition. Since then, the flower basket added into the battery light bulb can shine, highlighting the effect of the main props in the stage performance, fully embodies the role of the "lights". After several performances and continuous improvement, the "Lantern Dance" was renamed "Basket Light Dance".
"Flower Basket Dance" reflects the content of a group of innocent and lively girls, holding flower basket lamps, singing and dancing, through the interspersed change of novel and colorful patterns, showing the beautiful image of the girls of the south of the Yangtze River with enthusiasm and cheerfulness, and reflecting the atmosphere of the countryside of the lively and red-hot harvest festivals.
September 1959, in order to sing the new life of the peasants, and then fill in the theme lyrics.
September 1978, Cao Lu Town, the former Gong Road Literary Factory on the "flower basket lamp dance" to resume rehearsals, participated in the Shanghai Municipal Folk Music and Dance Festival, and in the Shanghai People's Stage for the public performance. Since then, the dance has been six times rehearsal, replaced six batches of actors, before and after *** more than 40 people involved in rehearsals and performances. 1989, "Lantern Dance" and its Taoist artist Xue Zhaonan was included in the "Chinese folk dance integration - Shanghai Volume" book and will live on in history.
According to the General Office of the State Council "on strengthening the protection of China's intangible cultural heritage of the views of" the document requirements, in 2006, our town and the "Lantern Dance" for the rehearsal, recording, March 13 this year was approved by the district government as the first intangible cultural heritage list of the Pudong New Area, and has been declared municipal "intangible heritage" list. The "Flower Basket Lantern Dance" has become one of the most popular dance in Pudong. The "Basket Light Dance" has become a characteristic program of our town and even of the national folk traditional culture in the district and the city.
Introduction of "Minglian National Music Society Playing Score"
"Minglian National Music Society is a folk music group with a history of 74 years in Cao Lu area, which was founded in 1933 by Zhou Gengsheng (1915-1987)
and others from Yangyuan Township. Most of the music played by the group belongs to the category of "Jiangnan Silk and Bamboo". The "Jiangnan" in "Jiangnan Silk and Bamboo" refers geographically to the south of the Yangtze River
; however, the spread of the music mainly refers to the neighboring areas of Shanghai, Jiangsu and Zhejiang. "Jiangnan silk and bamboo" in the "silk and bamboo", refers to the flute,
Shaw, zither, pazza and other orchestral instruments collectively. The term "silk and bamboo" was first used in the "Book of Rites and Music" in the "gold and stone silk and bamboo, music in the instrument also"; "
Jiangnan silk and bamboo" name was first used in the Qing Dynasty during the Jiaxing Prefecture Records
Jiangnan silk and bamboo" name is found in the Qing dynasty during the Daoguang period "Jiaxing Prefectural Records": "picking the silk of Suzhou and Hangzhou, carrying the dongting bamboo, changing the good sound of Wuyue, the collection of string
So the essence of the south of Jiangnan silk and bamboo", it can be seen that Jiangnan silk and bamboo originated from the south of Jiangnan region of the folk music, it is the formation and development of the past hundreds of years
, passed to the Cao Lu area also has a history of more than 100 years. Since the Ming and Qing Dynasties, "Shifan Gongs and Drums", the folk "Qing Ke Ke Si" and "Xiao Tang Min", as well as
Jiangnan local music and other factors of nurturing, promoting, so that the Jiangnan Silk Bamboo is gradually stereotyped and distinctive.
There are more than 40 pieces in the "Minglian National Music Society Performance Score". By the old "Minglian" member Mr. Li Baojin search, finishing, which is the most rich repertoire of Jiangnan silk bamboo
it involves the Yuan and Ming dynasties of the North and South Qu Qu, Ming and Qing dynasty folk songs, folk songs, some instrumental parts of the Jiangnan local opera, opera,
but
popularity and the most famous for the "eight qu", that is, the three-six, slow three-six, three-six in the six slow six boards, the line of the street, the four Ruyi, Happy Songs The most famous of them are the "Eight Songs", namely Sanliu, Slow Sanliu, Middle Sanliu, Slow Six-Pan, Xingjie, Sihe Ruyi, Joyful Song, and Yunqing (in another version of the story, the term "Slow Sanliu" is replaced by "Six-Pan", and the rest of the names are the same). The naming of the eight songs is closely related to folklore, except for Xingjie, the rest of the songs
all use the words "six", "Qing", "joy", "Ruyi" and so on as the auspicious slogan.
The exact time of the creation and formation of the "Eight Great Songs" has not been proved, but the most famous "Old Six Boards" (also known as the "Old
Eight Boards") from the "Minglian" silk and bamboo music performance, the earliest of which was recorded in 1814 in the appendix of Li Fangyuan's "Pipa Score". Taking the "old six boards" as the mother body (called the original
boards in opera), a series of independent variations, such as the "fast six boards", "six boards", "six boards", "six boards", "six boards", "six boards", and "six boards", are produced by adding flowers or doubling the number of eyes and flowers, and the four variations, together with the mother body, are known as the "Five Generations of Pipa".
(This article was written with reference to Mr. Li Bojin's "Introduction to Jiangnan Silk and Bamboo")
Introduction to the Dance of Piercing the Lantern
Zhang Huimin
The dance of piercing the lanterns, also known as the Great Piercing of the Lanterns, is a long-standing Taoist ceremonial dance, which belongs to Taoist rituals and is passed down in the towns of Yangjing, Gaogaoqiao, Gaudong, Cao Lu, Heqing, and Chuansha of the Pudong New District, and Cao Lu is the most popular town in the district. Whenever a funeral, the family will invite Taoist priests to do jiao-festival (commonly known as dojo), some of the rituals are rich in artistic colors, in addition to singing, reading, doing, and singing and dancing, so as to pray for the souls of the dead out of hell and into heaven, so-called sacrifices to comfort the life of the deceased. This custom has been practiced year after year for a long time. To the 1960s disappeared, resumed in the early 1980s, but limited to Taoist temples. In recent years, the countryside has been spreading.
One, the origin and development
Taoism is China's inherent religion of the Han Chinese nation, originated in ancient witchcraft, for the Eastern Han Zhang Daoling created, began to call "five-doumei Road", also known as "Tianshidao", Laozi as the ancestor of the religion, prevalent in the The Taoist religion flourished during the Northern and Southern Dynasties. At the time of the Jin and Yuan Dynasties, there were two kinds of Taoist priests: Quanzhen Taoist priests and Zhengyi Taoist priests at home. The Pudong family of Taoist classes, the vegetation is divided into two factions, all near the city of the West School, the far suburbs of the East School, but depending on their attributes, all return to the category of the first.
According to Huang Yanpei, "Chuansha County Records - Square Customs" records: "The euphonious people must do merit in the funeral. ...... said that after worship and repentance can be exempted from hell, get up to heaven ...... "" people die to catch the brake, has become a habit. However, with the Taoist priests call the seven then, with the monk is not ...... "Dojo and merit, the Department of Taoism along the lines of the Buddhist terminology, the only "catching the brake" word, from the mouth of the Taoist priests.
According to Cao Lu Town, Rixin Village Taoist artist Xue Zhaonan (1914-1992) and the people of the village Taoist artist Feng Bingkui (1922-1996) traced: "wear lamps dance belongs to the legal affairs of the Nine Phantom Lamps for the dojo commonly used, Taoist priests must be learned of the legal affairs, passed on to us here, about a hundred years of history. that has a history of about one hundred years." Feng Juchu (1916-1998), a Taoist artist from Qunle Village, said, "When I was young, I heard from the old people that the descendants of the Feng Family Taoist Class and even the entire Feng family in Qunle Village were the descendants of Feng Deku, an official in the Qing Dynasty. Feng Deku was an official in Ningbo, but when he was dismissed by the emperor and his family was copied, he moved to the deserted beach in the east of Cao Lu in the third year of the Tongzhi period of the Qing Dynasty (1864 AD)." It is said that Feng Deku later became a Taoist priest and practiced good deeds. This story is too old and unsupported by historical evidence to be true or false, but the hardships of the Feng family's founder seem to have provided a historical cause for the beliefs of their descendants.
The above historical materials and the oral narratives and legends of Taoist artists, although they do not show the exact date of the origin of the lantern-piercing dance in the Cao Lu area, at least it had taken shape in the Guangxu period of the Qing Dynasty. In the beginning, it was called "Small Light Piercing Dance", and all the movements of the program were relatively simple. Out of the livelihood, the dojo rituals were enriched, and many of them gradually evolved to be like a play (therefore, some local people called the dojo rituals as "Taoist play"). The small lanterns slowly evolved into "plays". In the twentieth century, the twenties and thirties, several Chuansha family Taoist class enrichment, has been the outline of the first big through the light. In the 1940s, Xue Zhaonan modified. However, the development of more than ten years, have not broken through the original traditional pattern, only supplemented some of the life of the dance movements (such as touching butterflies, plucking quebracho, etc.), on some of the movements were adjusted and strengthened (such as tugging muxu, Liwai Luocheng, etc.), so that the dance is becoming more and more perfect, soft. 1956, Xue Zhaonan, Feng Bingkui, Feng Juchu, and so on in the wearing of the lamp on the basis of the dance, finishing and processing of the novel "lantern dance". Although the dance was given a new name, changed from a male dance to a female dance, and replaced some formations and props, the structure of its basic movements remained the same as that of the Lantern Dance, but with some modern flavors in the traditional colors. Lantern Dance" was performed by the Gu Road District Gu Dong Village Amateur Troupe, in March 1957 with the Jiangsu Provincial Delegation (at that time Chuansha County is under the jurisdiction of Jiangsu Province) to participate in the "Second National Folk Music and Dance Festival" in Beijing, won the creation and performance of the Award of Excellence in Beijing Huairen Hall by Zhou Enlai, Zhu De, Dong Biwu, Peng Zhen, and other central government officials to meet. On New Year's Day, 1959, and processed and organized into the "Basket Light Dance", participated in the "Shanghai 1958 annual mass cultural and artistic creations," won the first prize for folk dance, Xue Zhaonan, Feng Bingkui was taught to organize the award, became the Taoist legend.
Second, the form and content
The Dance of Wearing Lights has a set of traditional performance forms that simulate the movements of folk life. Eight Taoist priests dressed in yellow or black dragon and phoenix robes, wearing a Taoist hat, wearing shoes, holding eight semi-circular hexagonal balcony lotus lamps (like incense burners in the temple), another four vase peony lamps on the ground at the corners of the four, in order to be worn by the lamps, under the command of the Grand Master (the Grand Master is also holding a lamp, when the nine, called the nine ghosts of the lamps) dancing, completed a series of beautiful program actions. The whole set of movements is divided into four gates, a dragon, a chain, children worshiping Goddess of Mercy, pulling mignonette, single (double) welcoming lamps, pulling quanquefoils, double flights, touching butterflies, flowers on the ground, single (double) chasing lamps, Li (outside) Luocheng, and carp rolled up in Zhigao, etc. These movements originate from daily life in rural areas. These movements, originating from the daily life in the countryside, make the illusory dojo come to life. Artistic and living, but also make the dojo in the folk are very popular, become most of the funeral home must be manipulated customs.
The dojo in the countryside is usually done in the guest room or warm room (a temporary tarpaulin bamboo hut). The north wall of the hall south and hang Zhang Tianshi or three Qing statues, hanging on the "Taoist ancestor of the wind" or "Taoist law" and so on the eyebrow cape, set up under the dead spirit table tablets. Spiritual platform in front of an empty space to lay out the dojo rituals, the four walls are covered with shafts of couplets. Dojo size, from one day and night to nine days and nights, to more expensive, and three days and nights is the most common. Each dojo consists of a number of rituals, and there is a difference between the Qing Wei rituals and the funeral rituals. Qing Wei ceremony has a charm, da table, the group will be immortal, fasting days, refining degrees, fire Division Chao and so on. Generally used to do "small seven" and Qingming memorial activities; death of the funeral legal affairs of the death of the bucket, money king, open square, nine ghost lights, death of fasting days, nine ghosts, nine sunlight, etc., generally used before and after the coffin funeral. Each section of the ceremony is independent of the piece, there is a program and not stick to it, heavy and slow can be, singing, reading, doing cross, or music played, gongs and drums sound. There is no obvious order between the dharma events in a dojo, except that the "Nine Phantom Lights" are customarily placed at the end of the dojo, and the highly danceable piercing of the lights is the end of the dharma events in the dojo, and when the piercing of the lights is completed, the entire dojo comes to an end.
Through the lamp dance performance content is: Daqing realm of nine immortals, the realm of nine real, the realm of nine jade Qing saint of the three heavenly beings (are the incarnation of the Supreme Lord Laojun, so the Taoists have a "mixing of one gas into the three Qing" said) are holding nine balcony lotus lamps, came to the netherworld, open the door of nine hells, and guide the dead souls out of darkness of the hell and towards the light of heaven. The nine hells are: the eastern wind and thunder. The nine hells are: the Eastern Hell of Wind and Thunder, the Southern Hell of Fire and Shadow, the Western Hell of Gold and Steel, the Northern Hell of Cold, the Southeastern Hell of Copper Pillar, the Southwestern Hell of Slaughter and Cutting, the Northwestern Hell of Train, the Northeastern Hell of Wok and Soup, and the Central Hell of Poultry. This many hells, churning the living shudder, the dead can hardly rest in peace, is the Taoist's original, but also from the side of the people told people in the past the ignorance and darkness.
Three, music
Small through the lights, only percussion accompaniment, the development of through the lights dance, and gradually formed a more complete accompaniment of the musical structure, the main vocal music "sigh Fengdu", "only envy of him", instrumental music "General Order", the end of the song is still accompanied by percussion instruments. Both the singing and the accompaniment are accompanied by other singers.
The music of "Sighing at Fengdu" is heavy, and the lyrics are sad, telling of the suffering of sinful souls in the Nine Hells, and the arrival of the Three Heavenly Kings (lords of the fasting) to free the souls of the dead from the netherworld. Sigh Fengdu" song ended song, through the lamp dance will start, the crowd said: "ten temple Cizun most free, prison door locks are opened, sizes of sins are all forgiven, release the souls of the dead out of prison." After the recitation, the lanterns were put on and the crowd sang "Only Envious of Him" to thank the Heavenly Father for saving the souls, and to praise the souls for their great merits and virtues during their lives and for their release from the hells. The tune of "Only Envious of Him" comes from the Kunqu Opera, which is euphemistic and lyrical, and sets a bright and relaxing musical atmosphere for the dance. Compared with the prelude "Sighing at Fengdu", there is a world of difference between one sinking and the other floating, demonstrating the mood of the dead souls moving from the darkness to the light.
The song "General's Order" is a blowing music. It is often used in front of laying lamps (i.e., the head of haunted lamps) or wearing lamps. In addition to the double suona, it is also accompanied by a hall drum, a board drum, a big gong, a small gong, and a gong for barking dogs. In addition to the drums and gongs, the drums also play the same rhythm as the melody with the wind instruments. The whole piece is relaxed and cheerful, powerful, and occasionally the gongs and drums rise abruptly, accentuating and rendering the role of the whole dance.
Fourth, style characteristics
Through the lantern dance for men's group dance, it uses the traditional methods of folk art, has a strong Jiangnan region of national colors and rich life atmosphere, formed a unique dance style.
Elegant and popular, the Dancing Lantern is rich in the simplicity and elegance of traditional dances, while its programmed movements of life, but also exquisitely reflecting the customs of the local countryside, interception of any of its movements of the branches can be verified by the life of some movements are even the original life of the movements of the white description. For example, "pulling the mignonette", "touching the butterfly", "pulling the tannin", the "pulling", "touching", "touching", "pulling", "pulling", "touching" and "pulling" are all the most common actions in the countryside. These springs of life are dissolved into ancient forms, which are not only free from vulgarity, but also endowed with vitality and vigor. Elegant and vulgar, no vulgar is not elegant, no elegance is vulgar, this is the first major style of wearing lights dance.
Symmetry into a square, the lamp-piercing dance on the floor dancers eight, to the four corners of the four lamps on the ground for the auxiliary axis and wear the four corners of the intersection of the main axis of the dance, these tangible and intangible fixed points objectively for the lamp-piercing dance caused by the "movement into a square, the change of symmetry," the pattern. The movements of the dance (such as double welcoming lamps, flowers all over the ground, and even the movements in the procession (such as a dragon and a chain) are all characterized by this feature. The whole formation is varied but not biased, moving but not chaotic, and the four corners are full, just like a splendid pattern.
Soft and elegant, the dancers wear robes and wind sleeves, with smooth lines and a sense of floating. The whole formation suddenly gathered and scattered, suddenly open and closed, suddenly through and around, the use of some walking small step action; action line curved and straight, interwoven with the warp and weft, the amplitude is not big and delicate, and changes and well, appearing to be a hundred kinds of soft, elegant and free. Due to the role of costumes and lanterns shape, color and other factors, and make the whole dance seems bright and lively.
Flexible and changeable, the lantern dance is an indoor ritual dance, in the long process of development, formed a set of unique program movements and basic formation, however, in the specific dojo, it is often subject to certain subjective and objective conditions and local constraints and adjust the movements and formations. The width of the performance area and the status of the mourners are often the main factors leading to the complexity or simplicity of the movements and the length of the formations, thus showing its adaptive style characteristics. Compared with square dance, it is more flexible and free. However, "flexibility does not deviate from its essence, and variety does not depart from its origin", and its main movements and basic formations are still relatively stable. The changes of the whole formation are all led by No.1, No.5 is in harmony with it, and all the people follow each other. The musical accompaniment was also changed under the direction of the drummer.
Through the lamp dance is a unique Taoist art, as a certain social ideology, is bound to be y marked by the birthmark of the era, it is a companion of the social obscurity period. Its emergence and development, in addition to the Taoist distillation of life for the sake of making a living, mainly comes from the ardent yearning of the mourners for the so-called ascension from hell to heaven. This feeling in the floating dance can be cathartic, so that the dead to pay tribute to the living is left a little solace and ethereal support, indicating that the people in the darkness of the pursuit of light and a better life.