Henan Zhuizi

Name of China's national intangible cultural heritage: Henan Zhuizi

Applicant: Henan Province

Item No.: 256

Project No.: V - 20

Time of publication: 2006 (the first batch)

Category: quyi

Region: Henan Province

Type: new item

Applicant: Henan Province

Protection unit: Henan Intangible Cultural Heritage Protection Center

Introduction to Henan Zhuizi

Applicant: Henan Province

Henan Zhuizi is a unique form of Quyi, commonly known as "zhuizishu", "jianbanshu" or "xiangbanshu", which is named after the use of Zhuizi string (also known as zhuiqin) accompaniment. It was popular in Henan and other central plains and some provinces and cities in North China. It was formed in Daoguang period of Qing Dynasty.

Henan Zhuizi used Henan dialect rap performance, mainly singing, singing in the clip said, the main aria used included [pingqiang], [kuaizaban], [Wuban], [wuzikan] and [Duoban]. Early artists were all male, including Guo Chengde, who brought zhuizishu to Taihe, Anhui Province, and Xue Yuxiang, Zhao Mingtang, Hu Mingshan, Xu Zhendong, AI Baolian, who changed from Daoqing rap to zhuizishu performance. In the early years of the Republic of China, artists such as sun minde, Feng Zhibang, dangzhifa, Liu Shilu, Cheng Wanlin and Gao Gongan enjoyed high reputation in Kaifeng and Zhengzhou. Henan Zhuizi often performs such programs as "duanershu" such as "stealing pomegranate", "xiaoguxian", "three dozen and four exhortations", "Wang Ma divorcing his wife" and "long books" such as "Huilong Zhuan", "Xiangma Zhuan", "Wuhu Pingxi", "cimao for Prince" transplanted from Daoqing rap.

After the revolution of 1911, with the idea of equality between men and women becoming more and more popular, female artists began to appear in Henan Zhuizi performance. The earliest known female artists were Zhang sanni and Yin Fengbao who appeared in Xiangguo Temple of Kaifeng. The appearance of them and the formation of the family class made the performance of Henan Zhuizi not only play and sing by themselves, but also play and sing by men and women or duet by men and women. Soon after, Henan Zhuizi was introduced to Beijing, Tianjin and other big cities, and its influence also expanded. In the late 1930s, Qiao Liyuan and Qiao Qingxiu, who enjoyed fame in Nanle, Daming and Qingfeng of Henan Province, were invited to perform in Tianjin, followed by Dong Guizhi, Cheng Yulan and other famous actors. They performed in Tianjin and made records, which made a great influence. Among them, Qiao Qingxiu and Qiao Liyuan have a unique performance style, with smooth rhythm, crisp words and tactful singing, which is called "Xiaokou", "Qiaokou" or "Qiao Pai"; Cheng Yulan's singing is characterized by regular, deep and implicit, which is called "Laokou" or "Cheng Pai"; Dong Guizhi's singing voice is mellow, simple and clear, which is called "Dakou" or "Dong Pai". The appearance of actresses makes the performance of Henan Zhuizi tend to be short "singing" in big cities. Although it enriches the singing melody, expands the singing range and improves the accompaniment skills, it also loses the characteristics and advantages of long rap. In Henan Province, the famous artists at that time included Zhao Yanxiang, who was good at performing "wind love letter", Zhang Zhikun, who was good at performing "Three Kingdoms" and Li Fengming, who was known as one of the "four famous performances" in Shangqiu. The female artists included Liu Mingzhi, who was good at delicate performance, Liu Guizhi, who was famous for charming performance, and Liu zongqin, who was famous for his bold performance It is called "Zhengzhou three Liu". During the Anti Japanese War, Henan Zhuizi was introduced to Shanghai, Shenyang, Xi'an, Lanzhou, Wuhan, Chongqing and Hong Kong, becoming one of the most popular forms of Quyi in China.

The accompaniment instruments of Henan Zhuizi include Jiaobang and zhuihu, which are used by full-time accompanists, and Jianban, Zhuozi, shortfoot Shugu and Xingmu, which are used by rappers. Among them, the artists who changed Daoqing to Henan Zhuizi mostly used the simple board to beat the festival, the artists who changed sanxianshu to Henan Zhuizi mostly used the hinge to beat the festival, the artists who changed dagushu to Zhuizi mostly used the short legged drum to beat the festival, and the artists who changed Xingmu to rap long books mostly used it. In addition to one person's "single talk" in the early stage and two person's "counterpart" in the later stage, there are also three person's "group talk" in the performance, each of which has its own suitable program.

After the founding of the people's Republic of China, Henan Zhuizi's creation and performance became more conscious, and a large number of masterpieces appeared. Wang Shude and his "turning over bridge of the ecliptic", Liu zongqin and his "Li Kui seizing fish", Zhao Zheng and his "picking cotton" and "old woman with two guns", song Aihua and his "double driving" are the representative works among them.

Since the end of the 20th century, the survival and development of Zhuizi in Henan Province has encountered unprecedented difficulties. The number of artists has decreased sharply, and there are few performances, which are in urgent need of support and protection.