The recent Beijing visit of a sectarian group from north Shanxi reminds me of the Li family Daoists’ performance at the 1990 Festival of religious music (for such festivals, see here)—the occasion that gave rise to their misleading media title (“calling Li Manshan’s band the Hengshan Daoist Music Troupe is like calling a group of Calabrian folk exorcists the Sistine Chapel Choral Society”).
I discussed here the gradual revival of Daoist ritual (now mainly funerals) in Yanggao after the collapse of the commune system; even by 1990, rural conditions there were still terribly poor, and memories of the Maoist era still fresh. For the dubious concept of “religious music”, see here.
Here’s how I described the festival in my Daoist priests of the Li family (pp.175–6):
Meanwhile my friend Tian Qing, later to become the pre-eminent pundit on Chinese music, was planning a major festival of Buddhist and Daoist music in Beijing for June that year, with groups from all over China invited to perform on stage. This was unfortunate timing, as everything was disrupted by the student demonstrations and their subsequent suppression, so the festival had to be postponed. With Tian Qing now indisposed, his colleagues at the Music Research Institute managed to put on the festival the following June—not in public, but with considerable publicity in the musicological world. To hold a festival of religious music was still controversial: some apparatchiks were opposed, but influential senior ideologues like He Jingzhi and Zhao Puchu supported it.
Li Qing had a difficult task to perform when it came to choosing the personnel to go to Beijing. Of his three Daoist sons, he ended up taking not Li Manshan or Yushan, but his third son Yunshan (Third Tiger), then 22 sui. Though Third Tiger was soon to take a different path, he remains nostalgic about his teenage years studying and the trip to Beijing with the great masters. Nine Daoists made the trip: the trusty core group of seniors Li Qing, Li Yuanmao, Kang Ren, Liu Zhong, Li Zengguang, and Wang Xide, along with Li Yunshan, Li Peisen’s son Li Hua, and Li Yuanmao’s son Li Hou. They stayed in the White Cloud Temple (Baiyunguan) along with several other Daoist groups from elsewhere in China invited for the festival, doing five performances (not rituals) for privately invited audiences over fifteen days in the temple and at the Heavenly Altar. The Music Research Institute also made studio recordings—which now sound rather harsh to me.
Informal session at Li Qing’s house, 1991. Left to right: Li Qing (sheng), his second son Yushan (yunluo), Liu Zhong (guanzi), Li Zengguang (drum), Kang Ren (sheng), Wu Mei.
The 1993 Yanggao county gazetteer includes a proud mention of the Beijing trip in its brief account of the Li family band. Valuable as the gazetteer is otherwise, Daoism is not its strong suit. Li Manshan and I giggle over its quaint description:
the average age of the members is 62.5. The instruments are even older than the people.
Still, even now, religious groups that have been legitimized by official recognition are in a tiny minority compared to all those that have never been “discovered”. Even in Yanggao and nearby, many other groups are active that have never enjoyed even such minor celebrity. And while it lent Li Qing’s group confidence, offering a potential buffer against any future ill winds, it brought them no tangible benefit, and no new audiences—at least until 2005 when I began taking them on foreign tours. They continued to scrape a living by performing for local funerals, and they still do.
For Third Tiger’s fine interpretation of my SOAS T-shirt, see here.