An analysis of the origin of millet yangko in Shanghe

Feudal dynasties took the world by force. In order to maintain their rule, they made martial arts dances to praise their martial arts and used them for sacrifices in suburban temples. For example, the "big clouds" and "great martial arts" in the "six dances" in the ritual and music system of the Zhou Dynasty are martial arts. Music in the Tang Dynasty was attached to dance. When Emperor Taizong was the king of Qin, the army had the joy of the king of Qin breaking the array. Li Shimin personally performed the dance of seven virtues, and ordered the minister Lv Cai and others to teach 128 musicians to dance with armour and halberd. In the sixth year of Song Shenzong, Wang Anshi sent Wang Shaoling to guard the village. Wang Shao taught the sergeant to play drums in his spare time. When facing the enemy, he used the "shock drum" to cheer himself up and shock the enemy. Compared with drum yangko, Dayun, Dawu, Qide Dance and Jinggu are quite similar in artistic conception, dancing skills and utility. Drum yangko is probably the Han folk martial arts dance (or court martial arts dance or army martial arts dance) in this period, and its social function is undoubtedly to inspire fighting mood.

The reason why drum yangko was formed by martial arts dance in Tang and Song Dynasties is that it has the spiritual characteristics of this era. Shandong has been in frequent wars since ancient times, and Shanghe is located in the hinterland, which is even more dangerous. After being baptized by blood and fire, the people of Shanghe not only exercised the spirit of being brave and martial, but also learned to fight in the war, and used some means in the war to dance for the Han people. More importantly, Shanghe, as a main body of Qi State, has long been influenced by the culture of Confucius and his grandson Wu Wen, and the choreographed dance has great appeal to both refined and popular tastes. Militarized organizational form, unpredictable dance formation, rough and bold soldier style and invincible heroic momentum are the temperament of Dahan, which is the soul of dance. As participants of Shanghe Drum Yangko full of life feelings and impulses, they can fully express their feelings, show their strength and indulge themselves in the whirlpool of beauty and strength. It suddenly went down the mountain like a tiger, suddenly melee, suddenly flowing ... but nothing like it. What they see, hear and feel are all virtual entities, which are the invincible cohesion of power, so it has a strong deterrent power. "Sacrifice" and "customs" are the means by which the ruling class binds people's moral norms and codes of conduct. Before the Yin and Shang Dynasties, people regarded their eyes as the master of all things and offered sacrifices day and night. The Zhou Dynasty revered the Emperor of Heaven and offered sacrifices in solar terms (days), together with Shennong and Hou Ji, until the end of the Qing Dynasty. The ceremony was very grand, from the emperor, the three fairs, the princes and doctors to the state and county governments. At first, it was mandatory and semi-mandatory, and then it gradually became a habit. Sacrificial activities in the suburbs of the county recorded in Shanghe County Records: the day before the spring, the government led the people to dress up as magical cows, and the villagers dressed up as fishermen and read the drama of plowing and firewood. Before sunrise, they left the east gate and made a pilgrimage to the southeast. Watching the sunlight at sunrise can predict the quality of farming. As can be seen from the above, rulers need to "sacrifice" and "control their own people", and all living beings tend to be confused about their own destiny and hope that their ancestors will give them happiness. The "customs and habits" in rural areas are led by the ancestors. On the evening of the seventh day of the first month (People's Day), they go to the temples and ancestral halls to worship gods, burn incense and run "trips". They are solemn and solemn, offering three sacrifices, three classics, three worships and nine knocks, burning firewood and paper and running "in one venue", praying for six requirements: good weather and good harvests.

Because "fishing, reading, ploughing and firewood" (now called drum yangko) participated in the activities of "sacrifice" and "custom" all the year round and became a part of the inertial operation mechanism of feudal society. This direct social utility has become a constant factor in the value orientation of folk dance, and it has also given the conditions for the survival and spread of drum yangko, so it has been passed down from generation to generation. At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, a large number of immigrants moved in from other places, which not only promoted the local economic development, but also brought music and dance cultures from all over the world to meet in Shanghe. Folk song and dance gradually changed from practical and utilitarian art to blessing and entertainment, and the main theme changed from praising mystery to celebrating joy, which flourished in Ming and Qing Dynasties.

The millet yangko, commonly known locally as "Running (Noisy) Fifteen" and "Noisy", is a continuation of the "Hundred Dramas" in the Han Dynasty. Folk activities worship ancestors on the night of the seventh day of the first month, officially begin on the eighth day, and fall umbrellas on the seventeenth night, lasting for ten days, culminating in the fifteenth, sixteenth and seventeenth days. The grand occasion of "Running the Tenth Five-Year Plan" recorded in Shanghe County Records: "The whole country is in a frenzy, and the new government hangs up its clothes on the 14th. I hope it doesn't snow in the Ming Dynasty, and I will try my best to make a scene. " "It's a gathering of Japanese ladies and gentlemen. The road is impassable and there is an endless stream from morning till night." "Pedestrians play and read all kinds of plays, and the wine and songs compete for joy, and they will not leave for three nights." In rural areas, according to their own conditions, various literary forms are integrated, and it is emphasized that performing umbrellas is inspiring, and dancers do not sing and singers do not dance. This kind of self-entertainment activity, which appears in the form of hundreds of plays under certain historical conditions, uses simple props and skills handed down by ancestors to put depressed emotions in a reasonable and legal time and space, and puts the ups and downs that cannot be said, dare not say and cannot be said in the heart. Shanghe is located in a remote place, with inconvenient transportation and long-term closed natural economy, which not only slows down the development of production, but also makes folk dance have a strong color of small-scale peasant economy. Dance skills (especially the "head umbrella" venue) are passed down from generation to generation, and the organizational form is the inheritance of feudal paternalism, which not only causes the distinctive regional characteristics of drums and yangko, but also gradually forms three umbrella drum schools in the county due to the limitation of nepotism. Every village has its own style. However, because "the sky does not change, the road does not change", although it has been circulated for thousands of years, "improvement" is quite slow. At first glance, every year is the same old story, which is regarded by politicians as an unpretentious folk acrobatic hall, leaving it to its own devices. Especially in the eight years when the Japanese invaders invaded, the people were miserable and the yangko almost disappeared. With the liberation of 1945 Shanghe and the development of production, the mass yangko before joining the army became a craze and a portrayal of the people's new mental outlook. After the founding of the People's Republic of China, there have been two climaxes in yangko activities, both of which are related to the party's policies and the happy mood of farmers' income increase. It is also the result of literary and art workers adhering to the direction of "two ones" and the policy of "letting a hundred flowers blossom".

(1) Based on local conditions, relying on the masses, persist in promoting national culture.

In the early 1980s, with the tide of reform and opening up, disco and break dancing in the west swept the ancient land of the East, and some yellow cultures also took the opportunity to flood, causing "six evils". This cultural infiltration has aroused serious concern. The good way is to carry forward national culture, enhance national self-esteem, self-confidence and self-improvement, reverse osmosis and anti-corrosion. Shanghe county party committee and county government insist on basing themselves on local conditions and starting with folk dances. Unite the broad masses under the banner of China's national culture. Since the reform and opening up for more than 20 years, the county-wide drum yangko performance has been held every year (this year is the 22nd). Every year, there are dozens and hundreds of yangko teams and tens of thousands of people participate in the performance. Drums are everywhere, and everywhere is full of brilliance. From the 90-year-old man to the five-or six-year-old children, three generations of a family perform on the same stage, and brothers and sisters compete to play roles, which is full of passion everywhere. Give full play to the self-entertainment and unique cohesive and centripetal functions of drum yangko, and consolidate and develop a new socialist people's relationship of equality, unity, mutual love and mutual assistance. This healthy and uplifting cultural atmosphere has objectively resisted the erosion of various decadent cultures and ensured the smooth progress of reform and opening up.

(2) It is important to inherit and innovate, and strive to create a dance culture worthy of the great era.

As early as 1950s, a large number of music and dance workers came to Shanghe, went deep into life, and studied unconditionally from the people in the "source" for a long time, excavating and sorting out the national cultural heritage. In the early 1960s, Beijing Dance Academy selected Shanghe Guzi Yangko as the teaching material of Han folk dance. More than a dozen professional literary and art groups inside and outside the province have created fine works of art based on the vocabulary of drum yangko, which has aroused strong repercussions at home and abroad. Local writers and artists have unique advantages. On the basis of inheriting the tradition, it not only highlights the character of Shandong Han nationality, but also highlights the national characteristics. They not only won honors in national competitions and major events, but also stepped into the squares and stages of more than 20 provinces and cities across the country at the invitation of various localities. This fully shows that the drum yangko has shown its own glory and eternal value after colliding with the times. At the same time, a number of talents have been trained and brought up. For example, Fu, Shang Yushan and Feng of the Ministry of Culture won the "Director Award" in the national competition, and Shang Yushan, the "head drum" in the merchant village, won the "Excellent Actor Award". Li Chuanzhen, the "head umbrella" of Yangmiao Village, was made into a TV series "Yangko Li" for 50 years. There are also more than a dozen backbone performance teams such as Yangmiao, China Merchants, Sanmao, Sanlizhuang and Wiki. Recently, Huang Yu Temple Martial Arts School, Bletilla striata and other children's drum yangko teams have been trained and won prizes in the competition, which is even more gratifying.

3) The first national seminar on drum yangko in Shanghe was held in Shanghe.

In order to further explore the origin of drum yangko and develop it according to the characteristics of the times, the "First National Seminar on Drum Yangko in Shanghe" jointly organized by the literary and art circles of provinces, cities and counties was held in Shanghe in February 1992, with nearly 100 music and dance experts from Beijing, Shanghai, Han, Sichuan, Shandong and other places, as well as relevant departments of the central, provincial and municipal governments such as Sun.

According to the proposition of the seminar, 9 papers were received and 16 people spoke. At the seminar, 5 yangko teams performed and 24 yangko teams performed entertainment programs. All the delegates were impressed by the majestic momentum and heroic temperament presented by various schools and were infected by the strong atmosphere of the times. Jia Zuoguang, vice chairman of the Chinese Dancers Association, excitedly not only danced with the masses, but also wrote a poem on the spot: Yellow River culture nurtures China.

The meeting was presided over by Chen Changmao, deputy secretary of the county party committee, and the academic seminar was presided over by Sun Li.

In order to deepen the study of drum yangko, the General Assembly passed a resolution to set up the China Shanghe Drum Yangko Research Association, and elected Jin, Vice Chairman of the Provincial Federation of Literary and Art Circles, Sun Li, Chairman of the Municipal Dance Association, and Chen, Chairman of the County Federation of Literary and Art Circles, as Secretary General. All participants are members. This indicates that after the seminar, it will guide people to further understand the value of drum yangko to a nation and make Qilu this wonderful flower bloom more colorful.