An Armenian archive

A recent talk at the Orient-Institut in Istanbul, when Ara Dinkjian (son of the great Onnik) and Vahé Tachjian introduced early recordings of Armenian classics, led me to the impressive website

  • Houshamadyan: a project to reconstruct Ottoman Armenian town and village life.

With navigational aids, including useful context here, the site covers local Armenian communities and families on the eve of the 1915 genocide, largely through diasporic records— family histories and memoirs, images and recordings. The site is trilingual in English, Armenian, and Turkish—and the audience within Turkey seems to be significant, as explained in this review.

From the “Religion > Festivals” rubric”. Source.

For a documentary introducing the musical world of Dinkjian father and son, click here.

For more of my dabblings in the cultures of west/Central Asia, click here. For another remarkable online archive, see Nicolas Magriel’s work on the sarangi. For diasporic communities in the USA, note Annie Proulx’s wonderful novel Accordion crimes. And for attempts to counteract state-induced amnesia in China and Tibet, see e.g. here.

A new rebetika volume

After my dabblings with Songs of Asia Minor, Road to rebetika, and Folk traditions of Greece, I’m browsing the new volume

  • The SOAS rebetiko reader: a selection of papers associated with the Hydra rebetiko conferences 2000-2020 and seminars held at the School of Oriental & African Studies, London (2025) (online here), edited by Ed Emery, tireless aficionado and organiser of rebetiko events.

A substantial English addition to the mainly Greek literature on the topic, it’s the fruit of several conferences over the years (notably the annual gatherings on the island of Hydra), and the creation of various bands. 

Rebetes in Karaiskaki, Piraeus, 1933. Source: wiki.

The volume contains contributions from well-established academics and informed amateurs, with original source materials in translation, plentiful song lyrics, discographical notes and links to YouTube clips. Besides Istanbul and Athens, topics include the (mostly bygone) rebetiko cultures of Smyrna/Izmir, Saloniki, Crete, and the USA, along with the Jewish connection; Bulent Aksoy unearths Turkish lyrics in early recordings. Two chapters by Gail Holst-Warhaft (on world music and the orientalising of rebetika, and the nationalising of the amanes) sample her thoughtful work since Road to rebetika. Also intriguing are excerpts from the autobiographies of Rosa Eskenazi and Markos Vamvakaris, and chapters on the criminal underworld, addressing heroin, cocaine, and morphine in rebetiko song; coverage of the connection with Sufi tekke lodges; zeybekika dances with zurna shawms feature in articles by Panagiotis Agiakatsikas and Muammer Ketencoglu, and a field report from west Anatolia by Ali Fuat Aydin.

Zurnas play for zeybek dancing, Aydın 2006. Source.

See also west/central Asia: a roundup. Cf. my flamenco series; fado (here, here); and tango.

In memory of David Hughes

Source: CHIME newsletter.

On Sunday SOAS hosted a grand celebration of the life of the great ethnomusicologist David Hughes (1945–2025), who died in May. Among many notices online, see this by Rachel Harris and Hwee-san Tan; Frank Kouwenhoven wrote eloquently in the CHIME newsletter.

After embarking on a PhD in ethnomusicology at Michigan under William Malm, from 1977 David thrived on fieldwork in Japan, together with his wife Gina Barnes. In 1981 they came to Cambridge (England!) to further their research, and it was there that I first met him as we consulted Laurence Picken. David went on to teach Japanese and Southeast Asian music at SOAS, becoming Head of Music and building a vibrant performance culture in a wide range of genres (he covered some of these topics, engagingly as ever, in this playlist). So the SOAS event resembled a retrospective of three decades of world music at SOAS and in Britain, with many of David’s former students performing; apart from copious Japanese music, among other featured groups that David supported and inspired were lively renditions of Cuban music and gamelan. And videos of his own performances were on display at the reception.

David was a co-founder of the British Forum for Ethnomusicology, and offered wise perspectives as a member of the CHIME board. Along with his in-depth research on Japanese folk-song, he had an authoritative grasp of Japanese musical cultures, as shown in his co-editing of The Ashgate research companion to Japanese music and his chapter on Japan for The other classical musics; he received several awards in Japan for outstanding contributions to Anglo-Japanese understanding. His lively and informal presence offered a welcome antidote to the more traditional British style of academic presentation—as a jovial performer, he was the life and soul of the party, delighting in language, an inspiration to many students. As is the nature of such things, the one person who would most have relished the event could not be present. David is much missed.

See also Some posts on Japanese culture.

Prizes for Gaoluo film!

I’m most gratified that my film Seated at the altar, on the 1995 New Year’s rituals in Gaoluo village, was awarded two prizes at the Chinese Musics Ethnographic Film Festival (CMEFF) International Biennial of Audiovisual Ethnomusicology, held in July at the Shanghai Conservatory of Music. In addition to the Bronze Award, it received the Intangible Cultural Heritage Music Documentation Award—which, given my trenchant critiques of the ICH system, has a fine irony!

Zheng Zhentao, in his stimulating review of the film, highlights the contrast between my method (representing ethnographic standards in the West, I’d say) and the glamorised reification that is de rigueur within China in the portrayal of folk culture—an established  tradition long before the ICH. So I’m gratified to find that there are those in China who appreciate my approach, as confirmed both by the discussion at the festival and the film’s reception at the screening in the village. The mere fact that I filmed New Year’s rituals and funerals in the village—rather than choosing staged settings such as the concert hall—seems to be original. However, such a verismo method looks unlikely to gain ground in China.

My films should always be viewed in conjunction with my writings—for Gaoluo, my detailed diachronic ethnography Plucking the winds. In the latter, far more broadly than mere “music”, the main themes of ritual, poverty, politics, and conflict are far more explicit. As I stressed here, “music” is merely a prism through which to document ritual and social change.

While I was doing fieldwork I was educating myself on rural Chinese society through modern regimes as revealed through Western scholarship (see e.g. here), such as Chen village, Gao village, and the studies of Friedman, Pickowicz, and Selden, as well as the work of Jing Jun, and (in Chinese) Guo Yuhua. These were my major inspirations.

It is easier to depict history on the page than in film. While the film hints at political aspects through photos and voiceovers, showing the village cadres’ support for the ritual association amidst the upheavals before and after the 1949 “Liberation”, this will only become clearer by reading my book (see e.g. this excerpt, and the history of the village Catholics). Yet these topics can hardly be broached under the current climate in China, where early history is idealised and modern history sanitised, in both text and film. Self-censorship is inevitable; even the word “politics” is largely taboo (cf. Ritual studies mildly censored).

So returning to the film, I’m still curious to know how Chinese audiences perceive the contrast between their romanticised image and ethnographic verismo. And I still wonder how Chinese film-makers manage to glamorise their rural themes.

Note the many posts on Gaoluo in the main Menu.

Red ritual

Before my diachronic ethnography of Gaoluo village was published, I surveyed the modern fortunes of amateur village ritual associations on the Hebei plain south of Beijing in “Ritual music under Mao and Deng”, British journal of ethnomusicology 8 (1999).

The same journal soon elaborated on the theme of ritual under Communism in a useful special issue (11.1, 2002) edited by Rachel Harris and Barley Norton, entitled “Red ritual“. Predating the Intangible Cultural Heritage razzmattazz, which further thickens the plot, it includes chapters on carnival in the Peruvian Andes (Jonathan Ritter), god processions in Cuba (Katherine Hagedorn), spirit mediums of northern Vietnam (Norton), Uyghur mazar festivals (Harris, with Rahilä Dawut—cf. this roundup), mortuary rituals in Fujian, China (Hwee-San Tan), and the Jewish service in Communist Hungary (Judit Frigyesi).

In their cogent Introduction the editors outline approaches to ritual, the contexts and functions of “ritual music” (focusing on performance), as well as revivals and recycling. Since they mention Kundera’s polemic against the state “bastardisation” of folk culture, we might now add the movie Cold war (see Resisting fakelore). See also Shamans in the two Koreas, Madonna pilfrimage in Communist Poland; and note Maoism tag. With local ritual practices often perceived as a counter-hegemonic threat to the state and a vehicle for political resistance, such studies confirm “the failure of Communism’s modernising mission. Ritual music continues to play a central role in religious expression and has the capacity to enact social memory, to forge ethnic identities, and to both propagate and challenge political and nationalist ideologies”.

The maintenance of ritual practice under authoritarian regimes is a theme that continues to engage me. Still, I find myself ever more wary of the rubric “ritual music”. While soundscape is always a crucial element animating ritual, and some of the most apposite fieldwork on performance comes from ethnomusicology, I still wish that scholars of religion and society could naturally consider soundscape without it having to be pigeonholed under “musicology” (cf. Bigenho). If the study of ritual subsumed soundscape and society, then it would be unnecessary to create a separate niche for “ritual music”.

End of an era

So, the drama of Wimbledon again (“Phew what a scorcher”)!

This year the tournament, like most of the other majors, has replaced line judges with electronic line-calling. As I wonder on what planet some demented sartorial arbiter might consider the former judges “best-dressed“, the courts are now depleted of what to one friend seemed like gatecrashers.

While this largely deprives the players of the frisson of dissent, and the melodrama of audience oohs and aahs as the Hawkeye screen zoomed in to assess a challenge, the new system does seem to be widely accepted. Still, as one comment reflected on the Guardian live feed:

Something felt off, and I couldn’t put my finger on it until you just reminded me about the absence of the line judges. Not only does the court look empty, but I’m surprised to find I also miss their shouts and shrieks, like a supply teacher trying to assert authority. This feels like a minor tournament without them, and it’ll take some getting used to.

See also this article. Since I wrote this, a succession of comments has appeared lamenting the change.

You can find plenty of intriguing posts on tennis under my Sporting medley.

Paltry reflections

Having not exactly been hibernating, I now find myself in what doesn’t merit the term of “sabbatical”. It’s partly that I’m beset by a lack of focus; while it’s good that I currently feel no need to inflict my ideas on others, it’d be nice if I had something to say. Still, this may come as a relief to some readers.

As to China, I remain intrigued by Zhang Zhentao’s review of my Gaoluo film. So far I haven’t found sources unpacking foreigners’ supposed proclivity for representing the “ugly” side of China, which is well worth refuting, seeming to imply that honest depiction of rural life is to be censored—but I welcome leads.

I still struggle to write about how Gaoluo and other village ritual associations on the Hebei plain have been affected by the Intangible Cultural Heritage project. And I search in vain for new studies of household Daoist groups active around north China, which (like the Hebei associations) are still bedevilled by their discovery by musicologists. And ethnographies of ritual life in the countryside seems to be in short supply these days.

On my visits to Istanbul, while trips along the Bosphorus on the vapur ferry continue to delight, I’m ever more diffident about my random delvings into Turkish culture. One remarkable recent addition to the pleasures of the Kuzguncuk mahalle is a little basement cafe where young Sufi singers and instrumentalists get together to practise the makam.

And a wealth of previous posts will still keep you busy (roundup of roundups here!), on topics such as jazz, Mahler, Indian raga, and the Beatles. Meanwhile, the blog Stats are being mysteriously inflated by coverage in Japan of my roundup of posts on Japanese culture, of which the gem is the Must-Read That is the snake that bit my foot!

So despite the paucity of recent output, do keep reading!

Gaoluo film: Chinese version!

Following the online publication of my film on the 1995 New Year’s rituals in Gaoluo, a screening in the village itself prompted a version with Chinese subtitles, on which I worked with the diligent Feng Jun.

It is far from a literal translation of my English script—I was keen to adapt it to reflect the idiom and way of thinking of the Gaoluo villagers. So rather than the terminology of urban academia, we incorporated local vocabulary like lao guiju 老规矩 (“the old rules”: tradition), dangjia 当家 (“boss”), jiahuo 家伙 (percussion), wentan 文坛 (“civil altar”: vocal liturgy), and songjing 送经 (“escorting the scriptures”). In many ways I find it preferable to the English text—since the original English voiceovers are intact, it’s worth watching even for those not dependent on the translation.

The Chinese version is now available both (in China) on the CDTM website (follow this link) and on my YouTube channel (alongside the English version):

And do browse the posts under Gaoluo in the top Menu! Click here for thoughts arising from presenting the film at SOAS; here for an intriguing Chinese review; and here for a screening in Leiden along with my film on the Li family Daoists.

With many thanks to Wei Xiaoshi!

Gaoluo film: another Chinese review

I learned a lot from my invaluable fieldwork companions Xue Yibing 薛艺兵 and Zhang Zhentao 张振涛. Within Zhang’s prolific output, his book on the Hebei ritual associations is outstanding (see e.g. here). He has just published a perceptive review of my recent film Seated at the altar, based on his own rapport with the Gaoluo villagers:

  • “Guying yu duju—Zhong Sidi jilupian ‘Zuotan: 1995 nian Nan Gaoluo cun yinyuehui zhengyue yishi’ yingping”, 孤映与独举——钟思第纪录片《坐坛:1995年南高洛村音乐会正月仪式》影评, Zhongguo yinyuexue 中国音乐学 2025.2.

No sooner had I surmised that Chinese audiences might not articulate the stark differences between my (inadvertently) ethnographic perspective and the sanitised, beautified portrayals from the Intangible Cultural Heritage (e.g. here; cf. Gaoluo film: a village screening), Zhang does precisely that.

The social context of Chinese folk musical cultures hardly appears on film. While I had blamed this on the ICH system since 2004, Zhang shows how deeply embedded is China’s history of romanticising and glamorising rural life. Despite Chinese scholars’ exposure to Western ethnography since the 1980s, his comments suggest that social realism has had little impact, and that the habit of self-censorship remains ingrained. I suppose the Party line is that while one may wish to film for one’s own research purposes, such scenes are not fit for public consumption: that we should draw a veil over poverty—over real life. In international visual anthropology the theoretical nuances of the film-maker’s “gaze” are much discussed, but this seems a particularly disturbing impasse.

Even Zhang Zhentao, who evokes village life in detail on the page, seems somewhat perplexed that we might want to display images of it. He finds the style of Seated at the altar consistent with that of my film on the Li family Daoists, and he might also have mentioned the DVDs with my two books on Ritual and music of north China. Playing devil’s advocate, he reiterates the simplistic notion that foreigners choose to depict China in ugly and shameful images, making the Chinese people “lose face”. He queries an apparent lack of “aesthetic” values (shenmei, where mei means “beauty”), adducing scenes from my films showing squalid streets and dwellings, shabby clothes, old women with bound feet, and the decaying architectural remnants of political campaigns. As he explains, such scenes are justified by the ethnographer’s search for “authenticity” and “realism”. *

To dispel China’s victim complex, it should suffice to watch documentaries filmed in India, Africa or Indonesia—and indeed on our own doorstep, such as De Martino’s films on taranta. But Zhang’s comments suggest that documentaries about other parts of the world have little influence in China.

As to fictionalised films, Zhang mentions the classic 1979 Abing biopic Erquan yingyue, as well as the movies of Zhang Yimou (and rather than the beautified images of Raise the red lantern, I much prefer the gritty realism of The story of Qiuju, or Jia Zhangke‘s depictions of small-town life). In between stand movies like Yellow earth or The old well (see here). While “underground” documentaries like those of Wang Bing, Ai Xiaoming, Hu Jie, and Jiang Nengjie, or the subaltern films of Xu Tong, boldly challenge the Party line, investigative Chinese TV documentaries show (or showed?) scenes of real village life, and brief unedited footage on Chinese websites and YouTube makes a useful resource. I wonder how Chinese audiences assess Sidney Gamble’s footage from 1920s’ Miaofengshan. Some non-Chinese scholars have issued documentaries on expressive and ritual culture in rural China, such as Chinese shadows, Bored in heaven, and the films of Jacques Pimpaneau (see this roundup).  We might also adduce Ashiq: the last troubadour.

Politics: text and image
It’s impressive that Zhang Zhentao broaches the issue of gaze, but he can hardly spell out another respect in which my perspective differs. My films complement my written texts—which though full of detail on the successive social and political upheavals of the 20th century (notably the Maoist era), attract little attention in China because few of them are accessible in Chinese (though see here and here). Politics is the elephant in the room, remaining taboo for music scholars within China; and among Chinese anthropologists too, few go so far as Guo Yuhua in documenting the ordeals of villagers under Maoism (see also here).

Text allows for more detail; film makes a more vivid impact. Whereas the film could only hint at the impact of political campaigns on ritual life in Gaoluo, in my book Plucking the winds I discussed this in some depth—such as the devastating national famine of 1959–61, of which very few images are available, by contrast with propaganda films on the supposed achievements of the Great Leap Forward.

Filming ritual and expressive culture
In China, besides the official taboos on showing poverty and discussing politics, the study of religious ritual is largely confined to textual studies of pre-modern history.

Before the ICH (even during the Anthology era of the 1980s–90s), Chinese fieldworkers rarely had the wherewithal to film ritual activity; and even if they did so, such footage could hardly be published. I too filmed merely for my own research purposes, to enable me to document ritual activity in far greater detail than I could achieve through making notes, taking photos, and recording audio; my footage included all too few scenes of daily life, which significantly enhance a film.

Shaanbei: scenes from Notes from the yellow earth.

My own films include scenes of lowly shawm bands at village funerals, a blind bard performing for a family blessing, beggars singing at a wedding, and a drunken folk-singing session in a poor peasant home. There is nothing sensationalist or demeaning about all this. If we seek to document rural Chinese communities and their expressive culture, how can we then ignore the conditions in which it takes place? Even if I could think how to sanitise, beautify, and idealise such scenes, it would never occur to me to do so. The social and historical setting matters, but is airbrushed in China. While I see the differences between my approach and that of the ICH, I have no intention of being controversial: I merely seek to document traditional ritual culture as best I can.

Gaoluo: ritual, “music”, and daily life
In filming the New Year’s rituals in Gaoluo, my choices were limited, largely consisting not of any grand conceptual vision but of finding physical positions from which to frame the scene.

Knowing these villages so well, Zhang Zhentao seems both impressed and disturbed by my vignettes of daily life there—elderly people relaxing in the sunshine, Cai An at his general store, the family eating dumplings. Wearing their everyday clothes, villagers perform in simple peasant houses decorated only by pinups, or before the god paintings in their humble ritual buildings, with cigarette cartons and thermos flasks placed besides instruments on rickety wooden trestles—by contrast with the ICH format of presenting folk groups in fake-antique costumes performing on the concert stage or in tidy, arid government courtyards. Villagers smoke, they joke; they ride motor-bikes and use mobile phones. Social context is important; to censor the conditions of village life would be mendacious. It should go without saying that my films are made with the utmost respect for my village hosts, serving as a tribute to their resilience. **

“Music”
Zhang Zhentao stresses the contributions that musicologists can make to ethnographic filming, but for me the challenge is the other way round. In reviewing Seated at the altar he focuses on the recitation of “precious scrolls” and the moving performance of the percussion suite—but I see these as inevitable components of documenting the entire ritual process. What I find significant is including scenes that may appeal more to ethnographers than to musicologists, such as (in Li Manshan) choosing the date and siting of the burial, the encoffinment, and informal scenes of the Daoists relaxing between rituals; or (in Seated at the altar) worshippers kowtowing and offering incense, or preparing the soul tablet for the deceased.

Zhang highlights the vocal liturgists’ renditions of the Houtu precious scroll before the gods in the lantern tent. Here he does well to observe that they had only been striving to recreate it in performance since 1993, at our behest; their efforts were less than ideal, and the future of the vocal liturgy still remains precarious. The recitation of the precious scrolls is most distinctive, but to me, just as crucial are the scenes that show their singing of the hymns that punctuate funerals and the New Year rituals, including The Incantation of Pu’an.

Similarly, while Zhang pays tribute to the visceral affective power of the percussion suite, I would also draw attention to the shorter percussion pieces that punctuate rituals. Still, the suite intoxicated me so much that over the years I missed no opportunity to film it during rituals, which taught me to find a suitable position and to zoom and pan at meaningful places. In China it would be unlikely to show the percussion suite within its actual function of ritual performance, but surely even Chinese audiences will find the result beautiful. True, in the Appendix that follows the final credits, our experiment with Cai An and Cai Yurun demonstrating the sections was one that might occur only to musicologists. ***

As to those final credits, Zhang notes the poignancy of the long list of performers, with their dates—many of them having died since the footage was filmed.

* * *

In sum, I simply fail to see how to evoke village ritual life, in either text or images, without providing social and historical context. Yet basic anthropological principles, that to us are self-evident, appear to struggle to gain acceptance in China—all the more under the current ICH regime. Because I’m so impressed by the work of my Chinese colleagues, I sometimes fail to register the constraints under which they operate.

Meanwhile at the Shanghai Centre for Ritual Music, Xiao Mei offers an impressive training in international approaches to ethnographic film-making, making me keen to see how they bridge the gulf—see my further reflections after my film won awards at the 4th Chinese Music Ethnographic Film Festival in Shanghai this July.


* And what if villagers actively prefer to be displayed in glamorous costumes on the concert stage?! So far I have no evidence that they are so allergic to displaying the conditions of their lives as are apparatchiks.

** Partly because I was reminded of the sad decline of revolutionary hero and vocal liturgist Cai Fuxiang, in the film’s funeral scene I included one tiny shot of the village’s only beggar at the time. I regret not chatting with him, because he would have added to our picture of village life, and our visit might have enhanced his self-esteem.

Cf. my sketch of the affable disabled ritual helper Yanjun in Yanggao, whose story I only gleaned at second hand (see under Yanggao: personalities).

In the film I allude to the Catholic minority in Gaoluo since the late 19th century, the 1900 massacre, and their re-evangelisation by Italian priests from the 1920s. Their continuing activity is a sensitive subject, but the scene of their brass band parading at New Year 1995 was so striking that it seemed acceptable to include it.

*** Cf. the complete shawm suite (with useful musical signposts in the voiceovers) at a 1992 funeral that forms the Appendix of my 2007 DVD Doing things.

Gaoluo: some themes

Presenting my film on Gaoluo at SOAS the other day, and the following discussion, thoughtfully led by Rachel Harris and Feng Jun, prompted me to try and rework some of my thoughts.

My book on Gaoluo was published in 2004, the result of frequent fieldtrips ever since 1989, and it’s full of detail on the lives of villagers through all the social and political upheavals of the 20th century. But I then moved onto other projects, and I only returned to the topic recently, to compile this film from my footage of the 1995 New Year’s rituals, which makes a nice succinct subject—and already a historical one, as I say in the film.

I see ethnography and film as essential complements to library work on imperial history (see here). This kind of subject, though vital to folk society, can’t be addressed only by reading old books in libraries. Actually, the topic hardly appears at all in old books—it’s only revealed by fieldwork. Until the 1950s almost every village in the region had an organisation like this; and many of them still do. While I eventually focused on this one village, we also did a survey of over a hundred village associations nearby (see e.g. under “Hebei” in the main menu, including this survey).

Religion
The whole topic of the Hebei ritual associations was only “discovered” by Chinese musicologists in 1986, and it has become a major theme within that discipline—but alas, not in religious studies. I think there are two main reasons for this.

First, terminology. These groups are now commonly known by the umbrella term yinyuehui, which seems to translate simply as “Music Associations”. But it’s confusing: in these villages the term yinyue refers very specifically to the melodic instrumental ensemble that accompanies the rituals of Buddhist and Daoist temples. That indeed was our initial interest, but it’s only one aspect of the associations’ ritual activities, their “instrumental department”, if you like. The term does have an authentic historical pedigree, but to us (both in the West and for urban-educated Chinese) it suggests an unfortunately secular image, like some kind of folk club for entertainment, which encourages Chinese attempts (both in the media and in academia) to downplay the pervasive role of religion (or “superstition”!) in folk society. So I obstinately insist on calling them ritual associations. Despite the gradual decline of vocal liturgy in the region, associations preserve many ritual manuals. And while the melodic instrumental repertoire now dominates, many groups regard these pieces as “scriptures”.

Apart from terminology, folk religion is a sensitive subject. There are some fine scholars in China, but they mainly write about earlier history and written texts, and are cautious about documenting events since 1949, or current activity; whereas we who study expressive culture incline more towards fieldwork. At least, scholars of religion could choose a few villages to clarify the transmission (whether “Buddhist” or “Daoist”) from early temple priests, and study early artefacts such as ritual manuals (not least the “precious scrolls”) and god paintings. While it may now be hard to establish a different image to that of the ICH (see below), the system has legitimised such associations, and they are not subject to the taint of “superstition”—even if scholars of religion may choose to exercise a certain discretion about the early sectarian connections that we documented.

These associations on the Hebei plain are devotional, priding themselves on providing ritual services for their home village without payment. Their ritual sequences are not very dense, but their purpose is to appease the gods. I again put them in the context of other manifestations of religious behaviour in China (such as sects, occupational groups of household Daoists, and spirit mediums). Like my film on the Li family Daoists (which I also encourage you to watch!), this film is set in the north; the soundscapes of the two films are similar, but their social contexts are rather different.

After the end of the main film, the Appendix gives some clues to the workings of the majestic percussion suite, ending with the most moving complete rendition. This is the most convincing illustration of the inadequacy of text, audio recordings, and photos, and it shows the villagers’ deep commitment to the tradition.

All this is a good illustration of how ethnomusicology is based on society and soundscape. Ritual in performance is always animated by sound, so soundscape should always be a major element in our study of ritual. Indeed, most local traditions of “Chinese music” depend on ritual—folk-song, opera, narrative-singing, and dance. One might compare the ritual groups in southwest China studied by Helen Rees, or “song festivals” in the northwest. In Uyghur culture, the pervasive role of Islam is masked by Party propaganda on muqam. The world music industry also remoulds “Sufi music” misleadingly to highlight instrumental music.

Conflict, and the 1949 barrier
Politics and social change are major themes of my book and this website. It’s always important to break through the 1949 barrier. We must take modern history seriously. The story always continues, from imperial and Republican times to the Maoist and reform eras, adapting to the changing times. People’s life stories and personalities make a revealing human window onto history and social change. Stories like those that I document—amidst campaigns, conflicts, famine, massacres, thefts—are airbrushed under the current Chinese regime.

Unlike small occupational household groups such as Daoists and shawm bands, these associations are public bodies, which the villages cadres have always played a major role in supporting.

I’m always struck by this amazing image of a former monk training disciples in a nearby village in 1959 (see here, under North Xinzhuang), just as the devastating great famine was occurring—the famine is among crucial topics that can hardly be addressed in China.

Shadows in the field
I could only offer superficial responses to Feng Jun’s salient query about how I positioned myself in relation to the people and events I was documenting. It’s a major theme of the book (and of a thesis in Chinese). I was most fortunate to have two excellent fieldwork companions from Beijing, who were totally on board with studying social and religious change. It’s most important to stay in the village, and to take part in their ritual life (neither of which is common for Chinese scholars). The villagers were open in replying to my questions, which Chinese scholars hardly asked.

I never thought of making films for the public domain; I filmed strictly for my own research purposes, and only realised later that some footage could be edited into watchable films. Our visits energised the Gaoluo association, while others were declining, but transmission was a constant anxiety of theirs, and a theme of our discussions. We can now see this as a precursor of the Intangible Cultural Heritage system.

The ICH
Since my last visit in 2003, a lot has happened in these villages. They’re no longer so poor. Crucial issues, everywhere, are migration, social media, state education, and the whole emptying of the countryside. And there’s no escaping the ICH system, which has influenced many such village groups. Many authors have described how the system commodifies, secularises, and reifies local traditions (see e.g. here). It’s state propaganda; most “research” under its auspices is superficial. While my film, and the book, inadvertently make a contrast with the celebratory approach enshrined by the ICH, I’m perturbed that Chinese viewers don’t seem to articulate this; they can’t read my book in Chinese, and anyway I’m not sure they would care to dwell on my different approach. With recent Chinese fieldwork dominated by the ICH, it is hard to gain a more in-depth picture.

Although the system uses “music” and “culture” as a smokescreen to downplay religious life, it works both ways; for the communities themselves, it helps protect them, legitimise them. With the tenuous survival of these groups under question ever since the 1980s’ reforms, joining the ICH made a tempting expedient for the association leaders. And faith endures, with villagers using the system to their own ends; the Gaoluo association still does funerals, and villagers still offer incense.

New Year in Gaoluo, 2025. Image: Wei Xiaoshi.

The village’s Catholic minority (whose brass band took part in a “demonstration” on 1st moon 15th in 1995, shown in the film) makes an intriguing sub-plot in the story. In this whole area the relationship between “Patriotic” and underground churches has long been opaque, and without a prolonged stay it would be hard to further our understanding of the shifting scene.

As with my work on the Li family Daoists, the combination of book, film, and website is most instructive.

Gaoluo film: another upcoming screening

My film on the 1995 New Year’s rituals in Gaoluo was shown recently in the village itself, and I went on to introduce it in Leiden. On the 20th May I’ll be presenting it at SOAS (details here)—I look forward to a lively discussion about folk religion, changing modern Chinese society, and perhaps even “music”…. For some themes arising from the screening, click here.

Donors’ lists 2: Gaoluo

Towards a dynamic approach to material artefacts in diachronic social context

Further to my previous post giving background on material support for amateur ritual associations on the Hebei plain, I now focus on Gaoluo village, whose four ritual associations all preserve a wealth of ritual artefacts. Here our prolonged fieldwork allows us to “break through the 1949 barrier” by incorporating the easily-neglected Maoist era into the wider picture both before the Communist victory and since the 1980s’ liberalisations.

Again, please excuse the considerable duplication with many of my previous writings on Gaoluo—in particular my book Plucking the winds, and on this site, my pages on Ritual images: Gaoluo and the village’s three other ritual associations. [1]

To remind you, both South and North villages have their own ritual association, now commonly known as Music Association (yinyuehui, yinyue referring to the “classical” style of paraliturgical melodic instrumental ensemble); and both villages have their own Guanyin Hall Association (or Eastern Lantern Association, dongdenghui), now known as Southern Music Association (nanyuehui, having adopted the more popular style of “Southern music”). But whereas the misleading term “music association” has since become standard in the region, note that neither the 1930 nor the 1990 lists of South Gaoluo use the term: both texts (like their 1983 gongche score) refer to “Southern Lantern Association” (nandenghui), the 1990 list glossing it as  “sacred society” (shenshe). So to stress yet again, this whole topic belongs firmly within the study of folk religion and society, far beyond “musicology”. Do watch my film on the 1995 New Year’s rituals in Gaoluo!

These two donors’ lists from 1930 and 1990 make striking exhibits, but the village’s other associations also suggest clues; having written about them separately, here I rework them into a diachronic account. 

A common stimulus for creating new donors’ lists is the expenditure of replacing ritual artefacts (ritual manuals, god paintings, instruments, and so on); besides recording the contributions of named villagers, many lists provide detailed public accounts.

The 1930s
For our main ritual association in South village, one such list, which we saw adorning the lantern tent for the 1995 New Year’s rituals, was said to date from the late 19th century, but alas it was so faded as to be totally illegible. Instead, most handsome of the ritual artefacts on display was the 1930 donors’ list—apparently the only surviving list from before Liberation that we have found in the region:

Now if we saw this list on the wall of a museum, it would have limited potential. But since the tradition endures, not only can we witness rituals, hearing the wind and percussion music and vocal liturgy before the gods; but further, the descendants of the people featured in the list were able to provide considerable detail, putting the initiative in the context of the Republican era in the region. To summarise my discussion in Plucking the winds and in Ritual images: Gaoluo, during 1930 both associations in South village undertook a refurbishment of their ritual apparatus—apparently prompted both by the brief restoration of peace in the area after many years of fierce fighting between warlords, and by competition with the renewed energy of the village Catholics.

The 1930 list, entitled Wanshan tonggui (“The myriad charities return to the same source”), commemorates the commissioning of a major series of diaogua hangings from Painter Sun of Doujiazhuang village in Zhuozhou county just north. It records 92 heads of households, surely consisting of most of those then living in the southern half of South village which the association served, though some were doubtless too poverty-stricken to be able to afford even a minimal contribution. For all the beauty of the list, many (including all the womenfolk) were unable to read it.

The donations, ranging from 6 yuan to 5 jiao, totalled 109.83 yuan; the cloth cost 24 yuan, the paintings 61.5 yuan, and other expenses amounted to 33.83 yuan, leaving debts of 9.5 yuan. Five “managers” of the association are named at the head of the list: Cai Lin, Cai Ze, Shan Xue, Shan Chang, and Shan Futian (sketches in Plucking the winds, p.54). As their descendants recalled in the 1990s, all were prominent figures in the village, some of whom were also active as ritual performers.

Later in 1930, in preparation for the following New Year’s rituals, the South village Guanyin Hall Association also made a donors’ list for the commissioning of twelve new ritual paintings, listing four “managers”, two “organisers”, and three “incense heads”. The paintings were again made by Master Sun; the 1990s’ members also say he made new diaogua hangings for their association. In the years before the 1937 Japanese invasion, one Wang Laoguo from South Gaoluo painted more diaogua for them.

Further suggesting the ritual revival of the time, the early Dizang precious scroll of the Guanyin Hall Association in North Gaoluo contains a section recopied in 1932 (the precious scrolls are introduced here, and for Hebei, here and here).

Under Maoism
In the decades after the 1949 Communist revolution, many village ritual associations gradually became less active or ceased entirely. However, a close look belies the common notion that ritual life was in abeyance right until the 1980s’ reforms. For this crucial and ever more elusive period, material artefacts serve only as an adjunct to the memories of villagers.

With the new regime in its infancy, peace gave rise to hope for local communities long traumatised by warfare. Even as the collective system escalated, Gaoluo’s new village administration managed to embrace its traditional associations. The production teams used to give a little grain or other goods to support whichever association lay within their patch. The political climate didn’t dampen faith in village ritual associations: they continued to perform funerals and observe the New Year’s rituals in their respective lantern tents. Between 1950 and 1964 several groups of young men were recruited to learn both the vocal liturgy and the instrumental music; new gongche scores of the latter were compiled.

However, I doubt if the associations often dared hang out their ritual artefacts, and the atmosphere must have discouraged the making of donors’ lists. Our association didn’t make one between 1930 and 1990, but in 1952 the South village Guanyin Hall Association converted from their chaozi shawm-and-percussion music to the more popular style of “Southern music”. They invited the locally-renowned musician Hu Jinzhong from nearby West Yi’an village to teach them, giving him food and accommodation through the winter, but no fee, as ever. There was some official opposition to them learning the music, so the association sought no public donations; it still owned some land in the early 1950s, so it could buy instruments independently. Supporters merely “took care of a banquet” for the association, and no donors’ list was made.

The early 1960s
From 1961 to 1964, in the brief lull between the famine and the Four Cleanups campaign, ritual associations revived strongly throughout the Hebei plain, training youngsters in both the instrumental ensemble and the vocal liturgy. The latter tradition was in general decline on the plain, with the elders of the “civil altar” dying off. In Gaoluo, the vocal liturgy of South and North village Guanyin Hall Associations effectively came to an end with the deaths of Zhang Yi  in 1950 and Shan Yongcun around 1956. Only our South village ritual association had a group of keen teenagers who came forward in 1961 to study the vocal liturgy with senior masters. But elsewhere the shengguan instrumental ensemble increasingly came to represent the scriptures before the gods.

One might imagine the early 1960s’ revival prompting our association to compile a new donors’ list, but perhaps the leaders were wary of creating such a public pronouncement. However, in 1962 the South village Guanyin Hall Association used its 1930 list to add a new list of donors.

And in 1964 the Gaoluo village opera troupe, not inhibited by the taint of “superstition”, commemorated its revival in a donors’ list (composed by Shan Fuyi), with the 280 donors representing the great majority of households in North and South villages at the time. The list records the donation of c450 yuan in total.

For both the ritual associations and the opera troupe, the early 1960s were a cultural heyday such as they had not been able to enjoy since the early 1950s, reflecting the social recuperation after the famine afforded by a central withdrawal from extreme leftist policies. Little did they know that political extremism was once again to disrupt their lives still more severely; the optimism of their declarations was soon to look naive and hollow.

Since the 1980s’ reforms
In the Hebei villages, as throughout the whole of China, the last two decades of the 20th century were particular in that their associations were reviving after at least fifteen years of stagnation—and even those that had been active until the eve of the Cultural Revolution had practised somewhat furtively. Thus they needed to replace a considerable amount of their ritual equipment.

In Gaoluo after the liberalisations following the collapse of the commune system in the late 1970s, the village “brigade” (dadui) gave 100 yuan a year to all the village’s main associations, which our South village ritual association spent on getting its sheng mouth-organs tuned. In the early 1980s they commissioned a new ritual pantheon of Dizang and the underworld, and compiled a new gongche score, but they didn’t yet create a new donors’ list.

However, the North village Guanyin Hall Association had a donors’ list made as early as 1981, to commemorate their own revival, written in elegant classical Chinese (text copied in Zhang, Yinyuehui, pp.128–9). This association had a reputation for observing the ritual proprieties, and preserved splendid “precious scrolls” from the 18th century, but their fine tradition of reciting them was going into decline even before Liberation. The first historical material on the list consists of four names (“transmitters of the ritual business”) from the 1920s. Unusually, having originally been a temple-based ritual association based on reciting the scriptures, they had diversified by adopting secular genres, acquiring opera in the 1930s, reformed pingju opera in 1951, “Southern music” in the 1960s (learned from their sister association in South village), and lion dancing in 1981.

The 1990s
As the economic liberalisations gathered pace and communal consciousness was attenuated, many village associations that had revived found it hard to maintain activity. In Gaoluo the 1990s were distinctive for the renewed energy provided by our fieldwork (Plucking the winds, pp.189–205).

After our first visit over the New Year’s rituals in 1989, our association now resolved to refurbish their “public building”, which they had reclaimed from the village brigade after the collapse of the commune system. This initiative was led by the then village chief Cai Ran, himself a keen member of the “civil altar”. After writing enterprisingly but unsuccessfully to the Music Research Institute in Beijing to request funding for the project, they managed to be self-sufficient in realising the project, with villagers donating money and labour.

So in 1990 the leaders of our association invited Shan Fuyi to make a new donors’ list. His substantial text outlining the association’s history (see Ritual images: Gaoluo) makes clear that my visit was a stimulus for the project; still, it was written with no guarantee that outsiders would return.

The 1990 list names 270 heads of households. Still, villagers were becoming less conscientious about donating (see Women of Gaoluo, under “Rural sexism”).

From the 1930 and 1990 lists alone, we can hardly perceive change. The association still served the ritual needs of the villagers, and was still supported by most households in its catchment area. Without thick description from fieldwork and interviews, we might never know how ritual and social life were changing.

In the early 1990s there were several thefts of ritual artefacts in Gaoluo—but this served as a stimulus for the association to reclaim those that had been taken off by cultural authorities under Maoism.

The lantern tent of the South village ritual association, 1998,
with new and newly-copied donors’ lists.

Our attention to the South village ritual association stimulated another competitive ritual flurry among the two villages’ other three ritual associations. For New Year 1990 the North village ritual association also had new ritual paintings made, of their own pantheon and the Ten Kings of the Underworld (for the donors’ list commemorating this initiative, see under Ritual images: Gaoluo). We also saw a more transient paper list of expenses from New Year 1992, pasted at the entrance to their ritual building, and already decrepit and hard to read by the following summer. They had received 690.47 yuan; they had incurred expenses such as buying coal, meat, vegetables, doufu, oil, salt, tea, firecrackers, tuning sheng, buying cloth bags for sheng, copying scores, and mounting ritual manuals and paintings—all conscientiously recorded. At New Year 1998 we saw their paper lists of income and expenses for the past year. Most of the association’s income had come from the hiring of crockery; donations had also been made when the association performed funerals (the rate being around 100 yuan). Some individuals had donated cash (one as much as 750 yuan), and the village committee had given 200 yuan. They had received 3,638.2 yuan (including 939.8 yuan brought forward from the previous year) and spent 2,992.2 yuan.

After the demise of the commune system, the South village Guanyin Hall must have revived along with the other associations by about 1980. Following our 1989 visit and the revamping of the ritual associations of North and South villages, they too had a surge of energy. For New Year 1992 they made a new donors’ list (image here) for the rebuilding of their humble ritual building, with this inscription:

The Eastern Lantern Association of South Gaoluo rebuilt its public building in 1992 AD under the People’s Republic of China, with the aid of the donors listed above. Total expenditure 2,984 yuan 4 jiao; 15 yuan surplus.

The list shows 215 household heads giving sums from 20 yuan to 2 yuan.

Conclusion
In all, community support for ritual life had not waned despite successive social upheavals. But new challenges were taking their toll: migration to the towns in search of work, state education, and popular media culture. Since my last visit in 2003, Gaoluo has continued to be transformed—notably by the arrival of the Intangible Cultural Heritage system, which I will address soon.

Static, silent material artefacts are most instructive when we can use them in conjunction with fieldwork and interview, helping us connect them to changing social life, filling in the gaps, learning more about practice and personalities over time. This is where the ethnographer has an advantage over the historian. I wish we had been able to find yet more detail—for instance on the 1950s: how funerals were changing, how calendrical rituals became less frequent, the decline of the vocal liturgy, and so on. We were lucky to be able to consult people who had taken part in the events commemorated in donors’ lists; but as time goes by, fewer villagers remain who can recall the early years of Maoism, let alone the “old society” before 1949.


[1] See the index of Plucking the winds, under “donations and donors’ lists”; Zhang Zhentao, Yinyuehui, pp.116–35, copies and discusses all the Gaoluo donors’ lists. On this site, note also the series of articles under the Gaoluo rubric of the main Menu.

Donors’ lists 1: Hebei

Stone, cloth, paper: economic support for village ritual associations

My new film on Gaoluo prompts me to revisit our fieldwork the ritual associations of the Hebei plain—a task further stimulated by the recent reification of these groups under the Intangible Cultural Heritage system. I now wish to outline economic support for such ritual organisations under the successive political regimes of modern times—”breaking through the 1949 barrier”.

First, in this post I expand on some themes from my survey of ritual associations on the Hebei plain; and in a sequel I focus on Gaoluo, where we found a wealth of ritual artefacts to accompany our prolonged fieldwork and discussions with villagers. Both essays are mere samples of the material we collected through the 1990s—please excuse the considerable overlap with many of my previous writings, both on the ritual associations and on Gaoluo. [1]

Introduction
Living traditions of Chinese folk ritual provide a rich source of material artefacts dating back several centuries (cf. China’s hidden century). Still, they are mere snapshots of particular moments: one hopes to be able to augment them by fieldwork on observed ritual practice and the oral accounts of villagers throughout living memory.

In rural China, as everywhere, ritual and cultural life depends on moral and economic support from local communities. Patronage, in cash and in kind, depends on the nature and scale of the enterprise.  Occupational family-based groups such as household Daoists and shawm bands (as well as individual intermediaries like spirit mediums) are paid for a particular event such as a funeral, and have successfully adapted to changing patterns of social support in the post-reform era.

In the religious sphere, alongside local temples, the composite term huidaomen (used pejoratively by the Communist state—hui Association, dao “Way”, and men “Gate”) subsumes both ascriptive amateur village-wide devotional associations and voluntary sectarian groups. On the Hebei plain, the two broad categories overlapped (see e.g. our notes on Xiongxian and Xushui counties).

Priding themselves on not accepting payment, ascriptive ritual associations have long relied on recouping their expenses through donations from the village communities whose ritual needs they serve. But whereas support for voluntary sectarian (as well as Catholic) groups remains grounded in enduring faith, the ascriptive associations have faced a particular crisis in the new economic climate since the 1980s. 

Temples and temple fairs, ritual associations and the “public building”
Temples have always been an important focus of community life, and in many regions they remain so, such as in south China (Fujian, Jiangxi, Hunan, and so on) and the northwest—although much research there has focused on the imperial legacy rather than modern change.

On the Hebei plain, temples were ubiquitous until the 1950s. Village ritual associations learned from Buddhist or Daoist temple clerics, or from other nearby associations that had done so, at various times since the Ming dynasty; they existed mainly to serve the village temples. But in a long process over the 20th century, temples were destroyed or abandoned; rather few have been rebuilt since the 1980s’ liberalisations, and still fewer have any regular staff apart from a temple-keeper. So the main venue for the reduced calendrical rituals of such villages became the “public building” (guanfangzi: Zhang Zhentao,Yinyuehui, pp.181–204), an inconspicuous building only adorned with god paintings and other ritual artefacts, easily stored away, during calendrical rituals on behalf of the community. Besides the long-term decline of active temples in the region, this may suggest insecurity among village communities through political upheavals.

Villages that have restored their former temples are in a minority, but in such cases the refurbished temples seem to provide a greater focus, visited and tended more often, as in Gaozhuang (Xushui county) and two villages in Xiongxian county, Hanzhuang and Kaikou. Still, their annual ritual calendar remains quite sparse (see my survey, under “Ritual duties”).

Even once we recognise the importance of the “public building”, a major part of the duties of these associations is to supply funeral rituals at the homes of deceased villagers.

Donors’ lists
Alongside the wealth of material artefacts that we found among the Hebei village ritual associations (ritual paintings, ritual manuals, scores, and so on) are donors’ lists (beiwen 碑文), documenting support over the previous year, or for a major initiative. Displayed alongside the god paintings in the ritual building, they proclaim the associations’ support among their community for providing calendrical observances and funerals, symbolising the village’s sacred core. As Zhang Zhentao notes, local terms like beiwen and bushi 布施 (“donating”) remind us of the living connection of these groups with the tradition of supporting Buddhist and Daoist temples.

More ephemerally than the stone steles of temples, the donors’ lists of Hebei village ritual associations are commonly inscribed on cloth; but many are even more perishable, written on paper, pasted on the wall of the ritual building over the New Year’s rituals—when new donations (often in cigarettes and tea) are recorded daily. Thus they might never be documented unless some ethnographer happened to be there to take photos at the time.

Throughout China, paper documents are commonly pasted up announcing temple fairs, temple inaugurations, and particular rituals; some of these may record donors and amounts contributed. Even for weddings and funerals, scribes record gifts. The donors’ lists of the Hebei associations are rather different, recording the names of household heads—thereby establishing them as members of the association not just for particular rituals but throughout the year—and amounts contributed. Since these associations were responsible for performing rituals on behalf of the whole village, their leaders sought donations from virtually every household. Besides a few more affluent patrons, most families could only afford a token contribution.

While village ritual associations were inextricably linked to their local temples, there is no direct transition from the stone steles of the latter to the cloth and paper memorials of the former. Most associations must have made donors’ lists ever since their founding, generally in the Qing dynasty or even the Ming, but alas they don’t survive. Even if they did, we couldn’t make a simple comparison.

For those Hebei temples that have been rebuilt since the 1980s’ liberalisations, we found a rare instance of a stone inscription listing donations on the back of the 1993 stele for the inauguration of the Ancestral Hall to Venerable Mother (Laomu citang) in Gaozhuang, Xushui county—led by the village’s ritual association.

Whatever the material on which such lists are written, the Hebei associations are mostly village-wide public bodies, perhaps encouraging them to openly display both their expenditure and the names of their patrons. Still, many of these groups have sectarian ancestry, so I wonder if such lists have been documented among sectarian groups elsewhere in China—leads welcome.

Lists of expenses
Also often detailed on such lists is the expenditure of the association, justifying the leaders’ probity on behalf of their patrons. Expenses documented include replacing instruments or maintaining them (notably tuning and repairing sheng mouth-organs), commissioning new ritual paintings; buying other equipment (tables, pennants, incense, candles, lanterns, paper, food for banquets); “utility bills” for the ritual building or rehearsal venue (coal for rehearsals, oil for lanterns, electricity); and New Year’s expenses such as firecrackers. For example, again from Gaozhuang is a paper list of expenses from 1995:

Here’s a 1994 list of expenses from Kaikou village (Xiongxian county) for the revival of the temple and its association (Zhang, Yinyuehui, pp.140–43):

Beiwen with written histories
Rather as temple steles from imperial times might also document successive renovations, some donors’ lists include brief histories. Some associations even composed separate histories, such as a 1990 banner from Xin’anzhuang, Renqiu county:

Was this prompted by some interest from county cultural workers, I wonder? It clearly constituted some kind of public declaration; but the preludes of some gongche solfeggio scores of the paraliturgical melodic ensemble, whose readership was limited to the performers themselves, also contain brief histories of the association, like those of Longhua from 1963 and 1980 (for both Longhua and Xin’anzhuang, see under Ritual groups around the Baiyangdian lake).

Intriguingly, the instances that we documented were written since the 1949 revolution. Under state socialism, did political anxieties now prompt ritual associations to proclaim or justify their history, portraying the tradition as “culture”, downplaying religion? Re-reading the brief texts that head some donors’ lists, I find them diplomatic, distancing the associations from sectarian connections, claiming a place within the official discourse long before the Intangible Cultural Heritage. This seems to complement the innocuous appearance of the “public building”, the easily-concealed ritual artefacts, and indeed the growing prevalence of the shengguan instrumental ensemble over the vocal liturgy.

Still, such histories can make a useful starting point as we compile more detailed accounts from villagers’ oral recollections.

Some further examples
Apart from the Gaoluo associations (to be discussed in a separate post), Zhang Zhentao (Yinyuehui, pp.130–50) details donors’ lists from other village groups we visited on the Hebei plain. These include two 1992 paper lists from North Qiaotou in Yixian county (Zhang, Yinyuehui, pp.136–40; see my discussion here)—a donors’ list introduced by a text in praise of the association’s benevolent virtue:

and their list of expenses:

In Xushui county, on our visit to North Liyuan in 1995 we found donors listed on a blackboard:

Also under my page on Ritual groups of Xushui is material on the rebuilding of village temples in East Zhangfeng (§8) and Xiefangying (§9). Zhang Zhentao further documents lists from Zhaobeikou on the Baiyangdian lake, and Fuxin in Wen’an county.

Many of these groups were of sectarian ancestry—the North Qiaotou association derived from a Hunyuan sect, for instance. As I suggested above, perhaps this made their public proclamation of charitable virtue still more apposite, counteracting state suspicion of “superstition”.

Summary
Static, silent material artefacts only provide snapshots in the life of these groups. They are most instructive when we can use them in conjunction with fieldwork, helping us connect them to changing social life, filling in the gaps for the intervening periods, learning more about practice and personalities over time, using the frozen material evidence to prompt recollections from villagers, building up a picture of the longer term. This requires prolonged familiarity—as we gained in Gaoluo, subject of the following post.

And to repeat my point yet again, whereas the topic was discovered by musicologists, it belongs firmly within the study of folk religion and society. 


[1] For the Hebei ritual associations, see this survey, and many pages under the Gaoluo and Hebei rubrics of the main Menu. Besides my 2004 book Plucking the winds, as well as “Ritual music under Mao and Deng” and “Revival in crisis”, note in particular Zhang Zhentao’s 2002 book Yinyuehui: Jizhong xiangcun lisuzhongde guchuiyueshe 音乐会: 冀中乡村礼俗中的鼓吹乐社. Like his discussions of the “public building” and gongche scores (pp.181–204, 365–407), his chapter on donors’ lists (pp.115–80) is excellent; following perceptive discussions of particular lists, he analyses the material on pp.150–79, including the role of the local gentry in supporting ritual associations, and comparison with the opaque economics of the mercenary shawm bands.

Tribe

As rich white men intensify their attempts to destroy the planet, I’m watching the new series of Bruce Parry’s Tribe on BBC2 (website; wiki), some two decades after the fifteen programmes of the original three series.

Parry being a self-avowed explorer rather than an anthropologist, his programmes are more entertainment than education. The same formulas recur (contact, ordeals of pain and drugs, sharing food, camaraderie, fond farewells…), with sensationalism obligatory—the price that must be paid to get on TV. Yet the programmes remain attractive in a way that hardcore ethnographic film can hardly match.

It’s worth consulting Anthropology today for some nuanced discussions of the original series:

  • Pat Caplan, “In search of the exotic: a discussion of the BBC2 series Tribe“, 21.2 (2005)
  • Felicia Hughes-Freeland, “Tribes and tribulations: a response to Pat Caplan”, 22.2 (2006)
  • André Singer, “Tribes and tribulations: a response to Hughes-Freeland”, 22.3 (2006)
  • Adam Fish and Sarah Evershed, “Anthropologists responding to anthropological television: a response to Caplan, Hughes-Freeland, and Singer”, 22.4 (2006).

Caplan sets the critical tone. As she observes, since the halcyon days of the 1970s and 1980s, anthropology has largely disappeared from our TV screens; but “while the genre of ethnographic film has burgeoned and grown in sophistication, it has also now been relegated to specialist festivals and the classroom.” As she observes, anthropologists may be dismissive of such popular searches for the exotic, “their irritation perhaps stemm[ing] in part from having territory they considered their own invaded by ‘amateurs’ “. She doubts that the programmes “banished many of the tribal stereotypes” or “told the truth about their changing lives”. As she observes, many of these societies have been researched by anthropologists, and some are exposed to tourism—despite the impression given that they were virtually “discovered” by the series.

Hughes-Freeland too, while describing Tribe as a “Victorian romp”, wonders how genuine anthropology might gain a popular public profile. Singer is more tolerant:

Bruce Parry is sincere in his desire to understand and attempt to identify with whatever society he finds himself visiting; and he makes no claims to any deep anthropological insights or analysis. He’s an explorer and adventurer, the curious outsider who pretends for a short while to be an insider. It’s a process he enjoys, a sentiment apparently shared by his hosts who frequently make fun of his often inept efforts at trying to be one of them.

Yes, we need to worry about perpetuating the old stereotypes, and yes, there is a “hint of the ‘noble savage’ conceit in the series” but there is also genuine affection, respect (both ways) and empathy with the subjects chosen.

Singer calls for anthropologists to engage effectively with TV rather than standing snootily on the sidelines. Fish and Evershed also defend the series. They note that Tribe “reveals the process of beginning fieldwork rather than announcing the results”, the process of establishing rapport; it “shares more with contemporary trends in reflexive ethnography than with the observational ethnography of the past”. And they note that Parry does indeed feature globalisation and change. “Anthropology’s inability to generate a substantial television audience results from academic elitism”.

Threads of entertainment and education course through Tribe, allowing viewers to braid cross-cultural encounters in a global world. As the boundaries separating the rural and the urban, the wild and the domestic, the provincial and the cosmopolitan are further eroded by the pervasiveness of global media, migration, and macroeconomics, so too will the discrete subjects of anthropologist and television producer, and indigene and viewer, tend to merge.

If anthropology is to have a future in this transnational multimediated world to come, we are going to need to apply our tools of cultural relativity to television programmes, producers, hosts and audiences. Before we become shareholders in the future of anthropological television we must become better ethnographers of the modes of media production and reception.

At least Tribe may lead some curious viewers to do some fruitful Googling to learn a little about groups whose lives are otherwise sidelined in the media.

Click here for some ethnographic documentaries on China and elsewhere. BTW, those same issues of Anthropology today also contain thoughts on Kate Fox’s splendid popular book Watching the English.

Gaoluo film: village screening!

My new film on the 1995 New Year’s rituals in Gaoluo has recently been screened at a grand event (billed as a conference) in the village itself, thanks to the enterprise of Wei Xiaoshi (CDTM) in collaboration with Cai Yurun, who has long served both as leader of the ritual association and the village. A detailed review of the occasion has just appeared on the CDTM WeChat site (click here).

I’m delighted that my old fieldwork companion Xue Yibing could take part—we witnessed the New Year’s rituals in the village together for the first time in 1989, and his careful fieldnotes on Gaoluo and other villages over the next decade were invaluable (see mainly under Hebei in main Menu).

Gaoluo: our first visit to the Lantern Tent, New Year 1989.

Besides many of the villagers, delegations attended from a variety of musicological departments in Beijing, and from Hebei University. If only institutes of folk religious studies and sociology could be alerted to the significance of such ritual associations! But even if they were to venture beyond the safety of historical research into fieldwork on the condition of these groups since the 1940s, their ability to publish in China is ever more limited. 

One of my sessions with village litterateur Shan Fuyi, displayed on his daughter-in-law’s mobile.

I trust the film was well received, giving younger villagers an opportunity to glimpse their parents and grandparents in the days before the reified commodification inculcated by the Intangible Cultural Heritage began to influence their practices. With sonorous speeches inevitably the order of the day, the constraints of the occasion made me nostalgic for the informality of our fieldwork. The very setting, in a revamped Party Committee office, suggested how material conditions in the village have improved since my visits.

South Gaoluo New Year’s rituals, 2025. Images: Wei Xiaoshi.

Still, the religious context has not been lost: the New Year’s rituals still attract the village faithful, and the association still performs funerals for them. But the authoritative Cai Yurun voiced concerns that ICH support still can’t guarantee the future prospects of the association—in particular the vocal liturgy (which has been in a wider decline on the Hebei plain for many decades). It would take a further period of lengthy immersion in the villagers’ lives to learn their true perceptions (perhaps prompted by the film) on social and ritual change over these last thirty years. My film didn’t seem to prompt comments on how significantly the ethnographic perspective differs from the sanitised media approach typified by the ICH, but Zhang Zhentao has now published an intriguing review on this topic. Inevitably, whereas my book Plucking the winds stresses the constant tribulations of such villages under successive regimes, the prevailing congratulatory mood within China discourages such an approach.

Enbedded in the review of the event, the performance of the percussion suite in the courtyard, while still technically accomplished, inevitably lacks the spirit of the 1995 rendition before the gods. I doubt that this derives merely from the official secular context of the event; the total commitment of masters of yore like Cai An and Shan Rongqing seems to have been diluted.

Above: the association with helpers, 1995
Below: members of the association with connference delegates, 2025.

The Chinese version of the film will soon be available both on my YouTube channel (alongside the English version) and (in China) on the CDTM website. And do browse the posts under Gaoluo in the top Menu!

Click here for recent screenings in Leiden of my films on the Li family Daoists and Gaoluo.

With many thanks to Wei Xiaoshi!

Presenting my films in Leiden

With Barend ter Haar (left) and Frank Kouwenhoven (right). Image: Yves Menheere.

Following the online publication of my recent film on the 1995 New Year’s rituals in Gaoluo, its public world premiere was at a grand event last week in the village itself. Shortly afterwards I visited Leiden University to present the film, as well as my portrait film on the Li family Daoists in Shanxi, as part of Yves Menheere‘s course on Chinese religion, and in collaboration with Frank Kouwenhoven of CHIME.

As I often stress (e.g. here), the study of both topics belongs firmly within the realm of religious studies, even if it has been dominated by Chinese musicologists. Sure enough, the distinguished sinologist Barend ter Haar graced us with lively comments, and I was delighted to see Tao Jin, formidable authority on Daoist ritual, on a visit from Beijing via Paris (see under Ritual life around Suzhou, and here).

With Tao Jin.

With both films concerning ritual life in north China, their subjects and soundscapes may appear somewhat similar, but the differences are significant (click here for differences in approach that emerge from studying with the two types of group). The Li family Daoists are

  • occupational, in a small group of five or six
  • active in a small radius around their home village; constantly busy, mainly for funerals,
  • with dense ritual sequences,

whereas Gaoluo is

  • among many amateur devotional associations, village-wide (cf. Xi’an, Yunnan, Jiangsu, and so on)
  • mostly serving the village itself, and not busy except at New Year,
  • its ritual sequences less dense.

My most focused fieldwork with the Li family Daoists was from 2011–18, with previous trips in 1991–2 and 2001–3; the film mainly shows footage from 2011 to 2015.  My fieldwork in Gaoluo took place from 1989 to 2003, the film footage showing three weeks in 1995.

While the impact of the Intangible Cultural Heritage on the Li family Daoists has been negligible (cf. here), in village ritual associations like Gaoluo it has been major—which makes the 1995 footage even more significant.

I look forward to introducing both films further to live audiences in the coming months. Meanwhile, do watch them online!

Dhrupad at the Bhavan!

*A reminder of my series on north Indian raga!!!*
with some highlights on my YouTube channel

The depth of the art of dhrupad singing never fails to entrance me—from the Dagar lineage through to Uday Bhalwalkar, whom I was blessed to hear this weekend in a recital at the Bhavan Centre in west London.

Through the slow, lengthy exposition of the alap, one hangs on every inflection, all the nuances of timbre, as Udayji expounds the pitch relationships—eventful, constantly creative, with a richly calibrated structure. Without neglecting the changing social context, one is drawn back to Hazrat Inayat Khan‘s 1921 book The mysticism and sound of music. The previous day Udayji led a workshop in which he reminded us of the power of singing as a spiritual discipline.

* * *

Perhaps through some imponderable quirk of algorithm, the only widely-viewed post in my raga series is Bhairav–Bhairavi. All the posts are worth consulting, but if any deserve promoting in particular, for me it has to be the one on Yaman Kalyan.

As I marvel at the variety of solo singing styles around the world, dhrupad has a unique aura. For me, Udayji ranks alongside Billie Holiday and Mark Padmore.

Click here for more dhrupad in the UK. For more from the Bhavan, see Indian and world fiddles, Learning raga at the Bhavan, and Bhairav to Bhairavi at Bhavan. Cf. Voices of the world, and A playlist of songs.

An anthology of Chinese fieldwork reports

Under the current political regime in China, we may have doubts about the scope for in-depth field research; but in the sphere of musicology, grand compilations of previous work continue to proliferate impressively, such as a valuable recent publication from the Music Research Institute (MRI) of the Chinese Academy of Arts:

  • Zhongguo chuantong yinyue kaocha baogao 中国传统音乐考察报告 [Field reports on traditional Chinese music] (ed. Zhongguo yishu yanjiuyan Yinyue yanjiusuo, 10 vols, 2022),

reproducing the MRI’s original fieldwork reports (mostly mimeographs) dating from the 1949 “Liberation” through to the eve of the 1966 Cultural Revolution. For each subject, lists of recordings made at the time are appended. For introductions to the compilation, see e.g. here and here.

Volume 1 is prefaced by an authoritative survey from the redoubtable Zhang Zhentao 张振涛. Scholars now delineate three periods in the modern history of Chinese music fieldwork: the Maoist decades, the Anthology (1980s–90s), and the Intangible Cultural Heritage (ICH) era since around 2004. As Zhang reflects, after the fieldwork for the Anthology and its publication, we didn’t know if we still needed to read these pre-Cultural Revolution “field reports” and what value they might have. The majority of these traditions were, and are, embedded in ritual life—which maintained activity, at least until the Great Leap Forward, and again in the brief interlude between the easing of the ensuing famine and the 1964 Four Cleanups. However, the bulk of these studies focuses on narrowly musical aspects, so clues to social ethnography are in short supply—over a period of great change. Interviews were often conducted during visits by folk groups to urban festivals. Nonetheless, I am as full of admiration as Zhang Zhentao for the achievements of these early scholars.

If the political climate under Maoism had dictated a cautious approach towards ritual, the Anthology era began to hint at a more mature approach to social ethnography; but under the ICH such study is again being hampered by a sanitised patriotic agenda.

In my early years from 1986 visiting the MRI archives in Zuojiazhuang—then still permeated with the atmosphere of Maoism (see under Qiao Jianzhong)—I was immensely fortunate to have access to such studies, photocopying flimsy mimeographs, and I have introduced some of them in earlier posts. They formed a basis for the Anthology fieldwork after the liberalisations of the 1980s. These volumes have long been somewhat hard to find, so I hope they will now be more accessible—as long as libraries outside China can afford to stock the compilation.

Contents, vol.1.

Yang Yinliu 1950.

Zhang again stresses the crucial leading role of Yang Yinliu. Vol.1 opens inevitably with his iconic A Bing quji (1979, based on their long acquaintance before Yang’s 1950 recordings), and his equally numinous studies of northern instrumental traditions: Ziwei village in Dingxian, Hebei (1952), the Zhihua temple (1953), and Xi’an guyue (1953). Vol.5 also includes a report, new to me, on “musical life” in the rural suburbs of Beijing (cf. here). Several studies address Shanxi, such as two reports from 1953—on folk-songs in Hequ, north Shanxi (vol.4), and yangge and huagu (vol. 5).

Vol.1 ends with the 1956 national survey of the qin zither scene led by Zha Fuxi. Vol.3 is devoted entirely to the extensive 1956 Hunan survey led by Yang Yinliu, and vol. 6 includes his insider’s study of the paraliturgical instrumental ensemble music of Daoists in Wuxi, south Jiangsu. Li Quanmin’s report on his 1961–62 survey around Fujian (vol.7) laid a basis for later work there. Vol.4 features an essay on issues in collecting folk-song and instrumental music; vol.10 ends with the 1963 handbook Minjian yinyue caifang shouce 民间音乐采访手册.

Vol.2 is devoted to narrative-singing: danxian paiziqu, narrative-singing in Tianjin, bajiaogu in Liaocheng (Shandong), the liqu of Pu Songling (a rare historical departure), the qingqu of Yangzhou, and Henan quzi.

Studies of the ethnic minorites also punctuate the compilation—such as folk-songs of the Dong and Miao people in Guizhou, and Baisha xiyue in Yunnan (vol.4); the lusheng mouth-organ of the Miao (vol.6), and Mao Jizeng’s 1959 pamphlets on nangma and toshe in Tibet (vol.5). Vol.7 includes further reports from Yunnan, as well as Hainan, and from national events showcasing folk dance and amateur musical life among ethnic minorities. Vols 8 and 9 contain 1958 reports on minority arts festivals, and vol.10 reports on opera festivals—including interviews with performers that give clues to social change before and since “Liberation”.

While the MRI was most prolific and prestigious, many other organisations published field reports through the period—on topics such as Wutaishan, Suzhou Daoist ritual, Yangzhou Daoist pieces, “old customs” in Wenzhou, and (in Shaanbei) the White Cloud Mountain and amateur musicking in Yulin. See under the fieldwork category, including reflections in this edited volume; as well as Images from the Maoist era.

The era came to an end by 1964 with the tense political climate that led to the Cultural Revolution, silencing both traditional culture and its study until after the reforms of the late 1970s.

The Heritage razzmatazz in Zhejiang

In the recent CHIME newsletter (subscribe here, under Newsletter), by contrast with Frank Kouwenhoven’s renewed project on temple festivals in Gansu, he reports on the CHIME “travelling fieldwork conference” last November under the aegis of the Zhejiang Conservatory of Music in Hangzhou.

Such a project may sound attractive, changing the focus from dry lectures to engagement with local performers. But despite the best intentions of the regional organisers, the event turned out to be at the mercy of Heritage kitsch. As Frank recalls, things were a good deal more relaxed and more open-minded in 2006, when CHIME held a similar conference in Yulin, Shaanbei. However, I suspect such brief “hit-and-run” missions with large organised gatherings of foreigners and outsiders are inevitably flawed—as Frank comments, “beset with problems, unwanted side-effects, and distortions of local culture”.

In rural China, soundscapes are based in local ritual. But

sadly, participants were mainly taken to tourist villages, which featured many sanitised and commercialised versions of local traditions. […] Perhaps the higher echelons of the conservatory leadership, who picked these targets, were keen to project first and foremost a “modern”, more glamorous image of China’s rural musical cultures. But was the idea that we, the participants, would view the tourist shows as authentic stuff? Many of us happen to be seasoned music scholars, we have already done quite a bit of field research on local genres, perhaps in other parts of China, and sometimes for years or decades on end. But the rest of us, those mainly engaged in educational work or research outside China, would clearly be just as aware that villages in China do not normally require visitors to buy entrance tickets, nor harbour folk singers who dress up in fancy costumes and make ballet-like movements while they sing.

Why not visit a Daoist temple instead, with priests performing ritual opera, a fascinating genre definitely available in Zhejiang […]? Or why not schedule one trip to a local temple fair, where one might come across a whole range of local folk rituals and ceremonies, not tampered with by professional “stage directors”, village heads, or tourist managers?

At Shengzhou the trip sampled Yueju 越剧 opera (now associated primarily with female performers, also in male roles), comparing the student performances at the professional opera school with an amateur group performing at a nearby temple.

The school students behaved rather nervously, as if they were doing auditions, whereas the amateurs seemed more relaxed. As one might expect, the amateurs sounded more folksy and flexible, more rough also in their use of dialect, their tunes were more angular, less polished, mellifluous or spun-out than the “academic” ones. The amateurs were playing mainly for their own enjoyment, or for us and a small in-crowd of connoisseurs, in contrast to the more official shows which teachers and students of the Yueju school may present at commercial stages for paying audiences. […]

Wuju instrumentalists playing long trumpets.

In Jiangshan they also sampled Wuju 婺剧 (aka Jinhua opera). They found that dividing lines between “professional” and “amateur”, between state-funded and private enterprises, not always predictable or clearly defined.

Perhaps the most inspiring group they encountered was a group of string puppet players, again in Jiangshan.

They turned up once every two weeks at the tourist village to do some shows, which is also where we encountered them, but most of the time they’d perform puppet shows in the framework of local temple festivals.

Frank reflects ruefully:

Whether it is wise to undertake another conference on a basis of  “traveling fieldwork” in China remains a question. It may well be that the country, in its current very politicised phase, is not sufficiently open to the full potential of rural musical traditions (especially religiously inspired ones).

* * *

In Hannover and Hildesheim the previous month, CHIME held a more conventional academic conference exploring such issues, with the theme of Sustainability and Chinese music.

The splendid Xiao Mei gave a keynote speech showing how ethnic minority performers have adapted admirably to changing times, with few concessions to the traditional character of their music. Frank summarises:

Mobile phones and modern means of transport have come to play crucial roles in the organising of traditional gatherings, and in the transmission of songs and tunes. It means that the traditional spaces designated for meeting one another and joining musical rituals (e.g. temples, sacred sites, mountain tops etc) have greatly expanded: singers may now also join events online, from a remote distance.

In another fine keynote, Huib Schippers pointed out that China is currently spending more money on Intangible Cultural Heritage than any other country in the world. As he pointed out, local people frequently feel disempowered when dealing with authorities. “Only rarely do we hear stories from anywhere in the world where [members of] communities have a real sense of agency in preserving their music”.

And things may become still more difficult in China because of the strong weight attached there in state propaganda to “progress” and “modernisation”. Schippers quoted Gao Shu, a scholar who states that “when traditional musicians in various regions know they will be visited by the Ministry of Culture and Tourism, they change their performance to match what they think is expected of them, rather than playing the music they and their communities value most, in the way it is valued by them”.

What would this amount to in practice? The description might easily evoke cartoonesque images of local village heads, quickly taking action to dress up their local performers in fancy costumes and push musicians onto a stage, while adding all sorts of “extras”, synthesisers, guitars, amplification, light shows, anything that might enhance the chance of their genre being elected as ICH. After all, it could trigger financial support. One can easily also imagine the musicians themselves taking such steps. Unfortunately, this is not comic fantasy, but a plain reality. Fieldworkers in China have reported many instances of overnight transformations of traditional genres. At times they offer a rather bleak panorama of local ICH projects. Such projects, though intended to support and reinforce centuries-old local heritages, may actually distort or destroy them.

For instance, Frank summarises Gao Inga’s discussion of a group of local puppeteers in Huayin, Shaanxi:

The local authorities told them to do away with their shadow screens and shadow puppets, which the officials presumably thought of as old-fashioned or dull. Instead, the players (who had been a “sitting’”band as shadow puppeteers) were now requested to dance to music on stage, initially music from their own repertoire, but soon new music was added, infused with bass, keyboard and other pop instruments. All of these alterations were decided and directed by a local official, who was not part of the original crew.

It’s fine if local performers take autonomous decisions to modernize their own shows, but if government officials apply the ICH label to justify a complete facelift of a rural genre, as happened in Huayin, it becomes questionable. Even if the performers in this case seemed to be happy in their new roles, and with the regular incomes now allotted to them, one cannot help but judge this as a form of destruction. The case was in no way unique. Several of us have come across similar incidences of local shadow theatre cultures being destroyed by local authorities on the pretext of “developing” and “sustaining” them.

A Dunhuang symposium

On 21–22 February, to mark the closing of the exhibition A Silk Road oasis: life in ancient Dunhuang, the British Library is to hold a two-day symposium (also livestreamed online)—full programme here.

Besides religion and art, literature and languages, topics among a wide range of fascinating papers include the Buddhist slave trade, medicine, costume, and everyday life. And to follow October’s concert curated by Wei Xiaoshi (cf. the British Museum event), he will elaborate on the multi-faceted musical life of Dunhuang.

Temple festivals in Gansu

Complementing updates by Frank Kouwenhoven in the new CHIME newsletter (subscribe here, under Newsletter) on silk-and-bamboo music, I also appreciate two further field reports from him, again written in his communicative style. First he writes on huar 花儿 song festivals in Gansu and Qinghai provinces of northwest China. [1]

Part of the wider phenomenon of shan’ge “mountain songs”, huar has long been a hot topic in Chinese folk-song studies. With his late lamented partner Antoinet Schimmelpenninck, Frank made fieldwork trips there from 1997 to 2009. Do read his substantial chapter

  • “Love songs and temple festivals in northwest China” in Music, dance, and the art of seduction (2013, soon also to appear on his website), which he co-edited with James Kippen—altogether a fine volume, with a particular focus on India. 

In a rapidly changing society, Frank has recently embarked on a restudy, which he outlines with engaging vignettes in the newsletter.

Though huar (an umbrella term) has long been commodified, with leading singers recruited to regional song-and-dance troupes to perform on stage, [2] Frank characterises its local folk basis as part of “the universal triangle of music, sex, and religion”. As often, the study of such festivals should be carried out not only by musicologists but by ethnographers and scholars of ritual. They should also be incorporated into the thriving field of Amdo studies, [3] addressing a complex ethnic mix—Han Chinese, Tibetans, Hui and other Muslim groups, Dongxiang, Bao’an, Salar, as well as various Monguor-speaking groups. Under the current censorship regime within China, and for a region long troubled by ethnic tensions and poverty, one can hardly expect frank coverage of religion or sex—or indeed politics.

In 1993 Xi Huimin listed nearly one hundred festivals for Gansu and Qinghai (reproduced in Qiao Jianzhong, vol.1, pp.125–8); by 2013 Frank provided a map of 213 festivals in south Gansu alone (Music, dance, and the art of seduction, p.158). The largest and best-known festival is that of Lianhuashan. As he observes, the content of every festival is shaped by local needs and circumstances. Motives for attending include entertainment, contact with the gods, political affairs, and solving social problems, all closely intertwined.

Festivals are not merely places for pilgrimage, prayers, and chance encounters with strangers. They are major social events, combining markets, opera plays, disco dancing, kung fu movies, sooth-saying ceremonies, acrobatic shows, horse races, ritual processions of local gods, prayer sessions and a great deal more.

But the Chinese media

usually present these songs as a harmless form of musical entertainment, and often refer to the temple festivals in which they are sung as ‘hua’er festivals’, as if the songs are unrelated to the ritual settings, and void of religious connotations.

Still,

Some scholars who ignore or deny connections between hua’er and temple worship may do so not out of real conviction, but mainly in order to protect hua’er culture: religion is a politically sensitive topic in China, and in the past several local ritual traditions are known to have been forbidden by the authorities after details about them had been published in academic studies.

Frank also notes the Buddhist and folk-religious songs performed inside the temples, as at the Upper Bingling temple festival (pp.127–34).

As ever, it would be good to glean material on the maintenance of such local events through the Maoist decades (cf. Sparks). Even

during the Cultural Revolution, people went on singing at the risk of being arrested or attacked by Red Guards. Complete battles took place between hua’er singers and Red Army soldiers at Lianhuashan after the government had forbidden the festival there.

Frank’s chapter goes on to discuss courtship and sex, sacred singers in mythology, and fertility cults; power, authority and competition at temple festivals; and ethnicity.

Hornblowers at the head of the annual procession of the eighteen gods in Xincheng, 1997.

His recent fieldwork focuses on the festivals at Erlangshan (Minxian) and Xincheng. As in his earlier chapter, he notes how processions of the gods often result in violence. In Xincheng,

We recorded violence between three such groups at one spot near the south gate, resulting in bloodshed, chaos, people squeezing one another, and furious quarrels flaring up between individual men. A big police force had been kept on standby. It soon arrived on the scene, some twenty, thirty men including national guards, but they were unable to calm down the mob.

A bunch of daredevils had used their sedan chair as a weapon, pushing and chasing another sedan chair down the road. It was as if the gods themselves were taking up a fight. The dense crowd began to move, shouting, gesturing, and the assembled policemen were involuntarily pushed along.

Sedan bearers start a fight in Xincheng.

Running up the stairs of the temple with a sedan chair
(cf. mediums’ sedans in Shaanbei).

Among recent changes on Erlangshan, Frank notes that some singers themselves now favour amplification:

It made their singing much louder, but obviously undermined the option for most people to join in spontaneously with a phrase or a couplet, precisely the thing that had made the whole tradition so endearing: the free-flowing exchange of lyrics, an ever ongoing battle of wits… Now, the person in a crowd holding the microphone would decide whom to give it to for a reply, with all others essentially being excluded from the sung conversation.

Frank also documented devotional songs in nearby villages. While musicological analysis is always desirable, I’m keen to see more research on the ritual aspects of these cultures in changing society.

In Minxian he also attended a grand stage show, illustrating the secularisation and commodification of local culture—leading nicely to his next topic, which I introduce here.


[1] Frank’s 2013 chapter includes a useful bibliography of works on hua’er in Chinese and English. Among publications are several surveys by Qiao Jianzhong (in vol.1 of his works), as well as studies by Du Yaxiong and regional scholars such as the folklorist Ke Yang. One should also consult the Anthology folk-song volumes for Gansu and Qinghai. Rather than the conventional rendering hua’er, I favour the form huar. Links to further posts on Gansu here.

[2]  Among such “stars” of huar was Zhu Zhonglu 朱仲禄 (1922–2007), subject of several CDs (and tracks on the archive set Tudi yu ge); this documentary, though straight-laced, is representative of the official image.

[3] Note the Amdo Research Network, and references here.

Not quite an update

I’m not exactly hibernating, but while I have various projects on the go, new posts are few and far between at the mo—so meanwhile do keep working through my previous ouevre:

Meanwhile, to follow this update on Nicolas Magriel’s voluminous sarangi site, he continues to add precious material… (see also under A garland of ragas).

I’m trying to abandon the iniquity of Twitter by moving to BlueSky, so do follow me there.

“Normal service will be resumed as soon as possible”

On “Sufi music”

With general relevance to the conceptual confusion caused by “world music” marketing strategies, I highly recommend a review by Michael Frishkopf of The Rough Guide to Sufi music (Asian music 43.1, 2012, online here). It’s important background for several of my fumblings on the cultures of West/Central Asia, such as Bektashi/Alevi ritual (here, here) and the Naqshbandi order, and is instructive for traditions further afield—including China, where concepts like “religious music” and “Daoist music” may also confuse.

While praising the CD’s “wonderful collection of stellar performers and powerful performances”, Frishkopf trenchantly criticises its scant twelve pages of liner notes, “replete with misleading stereotypes, Orientalist-inflected, market-driven verbiage (alongside some outright errors)”.

First he addresses “world music”, itself a problematic category—an industry marketing label for musical performances from “elsewhere”, often combining elements (sonic, textual, or contextual) unfamiliar to Western listeners with others conveying reassuring familiarity (notably percussive grooves, or the timbres of Western popular music).

With the noble exception of labels aimed at the non-pecuniary goals of preservation, scholarship, or education, “the typical marketing strategy for this world music includes techniques for selection and description designed to maximise sales, not representational accuracy”.

In search of sales, most world music representations are biased—in both sound and description—to conform to the expectations for the world music idea, underscoring unfamiliarity by stressing features such as exoticism, ecstasy, trance, and spirituality, oſten emphasizing physical aspects (movement, dance, possession), and de-emphasising text in favour of the (supposedly) more transcultural power of musical sound.

On such compilations, the process of abridging original liner notes compounds rather than corrects representational errors. And “connections between different tracks typically cannot be intelligently described because such connections are not present anywhere in the source material; their interpretation requires knowledge of the broader musical scene that has already been omitted in the original re-presentation.” Moreover,

radically different kinds of world music—in this case Sufi music from field recordings, studio recordings, live performances from the world music circuit, fusions with scant existence outside of world music circles—are oſten juxtaposed without comment, simply because they were marketed under the same labels by the chosen source CDs. Some artists are widely known in their home country, others enjoy only local fame, while still others have built careers in world music and aren’t known back home (the essential elsewhere with which they are associated) at all. In the case of music identified as spiritual, some performers are recognised as religious authorities, while others are masters of music alone. Some performances are intended as spiritual utterances, while others have been denatured as a staged art.

Next Frishkopf turns to “Sufi music”, problematising both words (cf. Rectifying names):

First, one must consider the different perspectives on music (both as word and as phenomenon) and related concepts (e.g., sama’, spiritual audition; ghina’, singing) in Islam, and in Western discourse about Islam. In my opinion, the crux of this problem is not that the word music must never be used to describe the sounds of Islam—certainly the semantic scope of this English word is broad enough to encompass that which many cognates (e.g., Arabic musiqa) do not—but simply that this status, and discourse, must at least be discussed, and the etic use of the word music acknowledged. The present CD does not problematise the term at all.

Second, and perhaps more critically, is the slippery concept of Sufi, a word whose ethnocentricism is masked by its status as a legitimate Arabic word describing certain particularly pious Muslims of mystical inclination. Sufism, on the other hand, is an English neologism; the corresponding Arabic term is tasawwuf. In fact, as scholars such as Carl Ernst and William Chittick have recently observed, the current English sense of Sufism (like the terms Salafism and even Islam) has been shaped and promulgated by Orientalists, as a blanket term to designate diverse phenomena—from theosophy to voluntary religious associations (turuq), from ritual ecstasy to simple veneration (madih) of the Prophet Muhammad—throughout Muslim lands, in contrast to an imagined orthodoxy. Yet no single term covers such a vast range of phenomena in the languages of the Muslim majority regions, and indeed until the modern rise of Islamism, Muslim societies did not distinguish two spheres now known as Sufism and Islam; what is now called Sufism permeated rather than counterposed Islamic belief and practice. Sufi thus appears as a crypto-etic term. My point here is not that the term Sufi music should never be used, but rather that such a term (and its constituent parts) should be problematised, however briefly, considering its etic status and Orientalist genealogy, and (consequently) the ways it tends to mask difference.

He lists some examples on the CD. Whereas in most Muslim practice (Sufi or otherwise) language is foregrounded, in such packages instrumental music is stressed more than poetry.

In the cover statement “Islamic mystics harness the power of music”—sometimes true, though certainly not always—the sensory is transformed into the sensational, a technique for selling CDs. On page 3 of the notes booklet appears the phrase “hypnotic and trance-inducing”—an exemplary instance of world music marketing.

Following scholars of religion, Frischkopf queries the notes’ use of terms like “sects” and “orthodoxy”. And commenting on “the religious orthodox have tried to keep music out … but the Sufis have harnessed the power of music … and turned it to the service of God”,

this statement misleads in several directions at once. First, if music is taken in its broadest sense, even most Sufi writers tended to object to music in general and would approve of particular forms of chanting and—occasionally—instrumental performance only in carefully prescribed and regulated contexts. Second, if music is taken to include religious chanting, even the orthodox have always accepted certain kinds of music such as the cantillation of the Qur’an (tilawa), the call to prayer (adhan), and the recitation of religious poetry (inshad), provided that its themes remain within the bounds of religion, that the musical practices focus on text rather than emotion, and that men and women do not mingle.

Moving on to the second paragraph of the notes (!),

one finds further representations of Sufism through rituals and festivals that are described as exotic, dramatic, extreme, and ecstatic; a bodily spirituality reaching heights of bliss while radiating agony and death, evoking both Eros and Thanatos; ironic transfigurations of similar discourses today deployed—harshly—by so-called Muslim fundamentalists, the Salafiyya, for whom such features constitute adequate proof that Sufi ritual is a wholly illegitimate bid‘a (heresy; literally, innovation), having nothing to do with true Islam. Orientalist fantasies and fundamentalist critiques, both drawing on Sufi stereotypes, are thus unwittingly paired.

Frishkopf sums up:

All the artists and recordings presented here are aesthetically outstanding, though the relation of performers and performances to Sufism is quite variable. Most tracks appear to be concert or studio performances (oſten in international world music contexts) rather than field recordings, a limitation which could easily be excused if it were at least acknowledged. The selection is limited in range (so many regions and traditions have been omitted, while others are overrepresented), and biased toward instrumental music (though sung poetry nearly always prevails in Sufi contexts). Finally, the notes, which appear to rely entirely on texts drawn from source CDs (thus repeating and compounding their errors), suffer from serious inadequacies. Worse than unscholarly or error-prone, they are badly afflicted by overgeneralizations, unproblematized categories, essentialisations, and world music stereotyping, echoing Orientalist discourses, presenting misinformation, and failing to suggest important connections. Finally, understanding is severely curtailed by the absence of poetic translations. It is a rough guide to Sufi music, indeed.

His conclusion is almost comically tactful:

As a result, this album can only be recommended for teaching music, ethnomusicology, or Islamic cultures under two conditions: (1) if it is supplemented by additional readings and critical classroom discussions; or (2) if it is presented as an instance of the world music phenomenon, to be interrogated as such. For the listener, however, these tracks present a rich aesthetic experience, one that can easily be extended by recourse to the generally available source CDs, and beyond. For this service, and for highlighting the work of these remarkable musicians, the editors and publishers of The Rough Guide to Sufi music deserve commendation.

Frishkopf doesn’t interrogate a second edition (on 2 CDs) curated by William Dalrymple (cf. his film Sufi soul—see under From the holy mountain).

***Roundup for 2024!!!***

film title

At this time of year I like to rearrange the deckchairs on the Titanic by organising some of my more notable posts from the past year under particular themes. As ever, many belong under multiple tags, so below I make some whimsical choices.

Keeping company with my film on the Li family Daoists, most important is my *new film* on the 1995 New Year’s rituals in Gaoluo (Chinese review here). It also prompted me to devise a new Menu, and even a YouTube channel (with playlists reflecting my diverse tastes as well as my own films). For now I still resign myself to Twitter, but I’m posting on BlueSky too, so let’s all migrate there!

China:

Chu Chien-ch'eng

Finnegan cover

cruz

You can find any posts I’ve neglected in the monthly Archive as you scroll waaay down in the sidebar. All this suggests that it would be a sensible New Year’s resolution for me to burden you with fewer of these ramblings—but first I plan a major series inspired by the Gaoluo film

Gaoluo film: a Chinese review

GL CDTM review

A substantial Chinese review of my new film on the 1995 New Year’s rituals in Gaoluo has appeared on the WeChat public account of the CDTM 中国音网, headed by the enterprising Wei Xiaoshi

click here.

Following CDTM’s earlier review of my book on Gaoluo and its audio CD, access to the film within China should clarify my emphasis on the ritual function of such groups on the Hebei plain, over a decade before the Gaoluo ritual association came to fame as their image was remoulded by the Intangible Cultural Heritage.

Naturally, I hope the villagers themselves will be gratified to see vignettes of life in Gaoluo thirty years ago—many of them will hardly remember that era, and youngsters should be intrigued to see their grandfathers taking part in these rituals. As to scholars, it would also be good if the film finds an audience not only among musicologists but also in the fields of religion and folklore.

You can now watch the Chinese-subtitled version on my YouTube channel and here, and (in China) on CDTM (follow this link).

Portugal: folk traditions

with a seasonal tinge—
and fieldwork as resistance to fascism

Our image of Portuguese music is so dominated by fado (see here and here) that it’s easy to forget the abundance of folk traditions in rural communities there.

Until recent decades Portugal was a very poor agricultural society. This useful channel leads to the complete films of Michel Giacometti (1929–90)—whose fieldwork, as Anne Caufriez describes, helped undermine Salazar’s fascist regime. *

The archive (mostly filmed from 1971 to 1974) is on YouTube, as well as a playlist of excerpts. As in China, major themes are work songs (The Land! e.g. 50—not forgetting fishing), solo and a cappella singing, and church festivals; drums and fifes, bagpipes; stick-dances (e.g. 51, from São Martinho de Angueira) recall our much-maligned Morris dancing. Of particular note are the regions of Trás os Montes in the northeast, and the Alentejo. Here’s a compilation of religious music (45):

Mainly from the ritual repertoires, a few highlights:

  • In the Alentejo, the village of Venda holds the Festa da Santa Cruz (2–4) in May to celebrate spring (cf. Maggio in Tuscany, under Italy: folk musicking). This introduction refers to major studies by Morais and Fitas.

The group that goes down towards the crossroads is led by the Mordoma, dressed in white and carrying in her hands the Holy Cross, decorated with gold lent by the residents; the group that goes up to the meeting place is led by the Madanela, dressed in black and carrying in her hands a cloth with the face of Christ crowned with thorns. Both comprise a central female figure, two godmothers, four female singers with tambourines, and three male rifle-shooters. After the “meeting” of the Cross and the Cloth, they come together (beijo, “kiss”) to form a single group going up the village. Once at the Casinha da Cruz, Madanela and Mordoma present the Cross together. The next day, the Cross will leave the Casinha, remaining in the Mordoma’s house until the following year.

  • Romaria festivals (43), including that of São João no Rosmaninhal on 24th June (35).
  • Nativity singers of Alpalhão (23–5); around Portalegre, Castelo Branco, Beja and Faro (30, 31), the cycle of Janeiras and Rios songs for the twelve days from Christmas to Epiphany, as well as the choral Oração das Almas in São Bento do Ameixial (9, 10).
  • The tamborileiros of Baixo Alentejo (17–22):

  • This documentary features a surreal viola (from 3.45):

From the same era is this programme in the Rito y geografia del cante series, featured in my second post on flamenco.

Given the belated economic progress of the last half-century, I suppose this counts as salvage ethnomusicology—some of these traditions were already in decline, but others prove resilient amidst change (cf. Musics lost and found).

* * *

Some audio recordings of note include Musical traditions of Portugal (Smithsonian, 1988), and Tras-os-Montes: chants du Blé et cornemuses de berger (Ocora, 1978)—here’s a track:

See also my post on bagpipes in my unlikely series on Euro 24. In the Trás os Montes region, the bagpipe tradition continues to adapt:

For more leads, try the useful surveys in Songlines and The Rough Guide to world music.

For more European folk traditions on film, see e.g. my flamenco series; cf. Musical cultures of East Europe. See also Calendrical rituals, and The ritual calendar: cycles and seasons.


* Someone must have pondered this, but I wonder how such fieldwork tangibly helps further the revolution. As in Yellow Earth, it might merely depress the visitor at the enormity of “backward” thinking—not least conservative religious values—among the people they hope to help. See also Taranta: poverty and orientalism.

More films on my YouTube channel!!!

On my YouTube channel, besides my new film on the 1995 New Year’s rituals in Gaoluo, two exciting additions:

Screenshot

Screenshot

  • The amazing Hua family shawm band 滑家鼓乐班 playing the suite Da Yanluo 大雁落 for a funeral, Zhuanlou village, Yanggao county, north Shanxi, August 1992 (here).
    From the DVD Doing Things with my book Ritual and music of China: shawm bands in Shanxi (2007).
    The Hua band’s repertoire (“Ming dynasty bebop”) is heard on the ear-scouring CD Walking Shrill (Pan Records, 2004). Note also this detailed comparison of shawm bands with the qin zither, and this piece in particular! For more on shawm bands in China, see Walking Shrill, and for shawm bands around the world, here.

Do spread the word!

Chinese notation: a new anthology

dadianSource.

I learn of yet another massive compendium,

  • Zhongguo yinyue dadian 中国音乐大典 [Encyclopedia of Chinese music], general editor Wang Liguang 王黎光,

building on the achievements of previous eras—again testifying to China’s extraordinary energy and organisational power in producing encyclopedic reference works. It comprises four overarching rubrics:

  • Wenlun bian 文论编 texts
  • Tuxiang bian 图像编 iconography
  • Yinxiang bian 音响编 recordings (with volumes for xiqu 戏曲 opera and quyi 曲艺 narrative-singing published so far)
  • Yuepu bian 乐谱编 notations.

Here I’d just like to introduce the latter project, co-edited by my brilliant mentors Zhang Zhentao and Xiao Mei, whose astute reflections, posted recently on WeChat, I recommend. Zhang gives an authoritative survey of the growing recognition of the importance of notation as we refine our view of Chinese music sources, while Xiao adds details on the organising of such a huge compilation. It’s clearly a massive enterprise—not least in taxonomy, on which both scholars provide salient comments.

The project was initiated in 2017, soon assembling an accomplished team—many of whom were prompted to initiate separate research projects. Standards have risen since the days of the massive Anthology of folk music of the Chinese peoples.

Scores teamThe Yuepu bian team, 2017.

Zhang Zhentao pays tribute to the voluminous scholarship of Yang Yinliu (1899–1984), incomparable master of Chinese musicology, who led major projects before and after the 1949 Liberation; and the blossoming of research after the end of the Cultural Revolution, led by the Anthology. The Zhongguo gongchepu jicheng (Anthology of Chinese gongche scores, 2017), edited by Zhang Zhentao himself, was another major initiative.

On the basis of previous work, this new compendium adds more material from south China and ethnic minorities. It includes

  • scores found in canonical works from imperial times
  • among local folk traditions, gongche notations of melodic instrumental genres, as well as percussion. Notable among scores of folk melodic instrumental music are those of Xi’an guyue and the ritual associations of Hebei (supplementing Zhongguo gongchepu jicheng with some further material collected during Qi Yi’s Hebei project). Considerable new material for southern genres (hitherto somewhat under-represented apart from the exceptionally extensive scores of nanyin in south Fujian) includes the distinctive ersipu 二四谱 notation of the Chaozhou region, and scores of sizhu in south Jiangsu.
  • Han-Chinese folk-song, opera, and narrative-singing
  •  I’m curious to see how “religious music” is defined and categorised
  • the vast repository of qin zither tablatures.

Both scholars discuss the Uyghur muqam—in Xiao Mei’s essay, part of her astute reflections on issues in assembling scores of ethnic minorities, and in handling digital data classification.

While I heartily support the documenting of all these scores, Zhang and Xiao would be the first to concur that folk traditions, based on oral transmission, are far from dependent on them. The challenge is to incorporate notation into our understanding of the soundscapes of local communities and their transmission histories.

WAGZ scoreGongche score, West An’gezhuang village, Xiongxian, Hebei.

Of course, notation is silent: these scores provide the outline of melodies for musician-insiders whose realisations we can hardly imagine from the page. So among the other rubrics, the volumes cataloguing recordings will be crucial. What I await most eagerly—without holding my breath—is a project to make fieldtapes available, such as those that form the basis for the transcriptions of the Anthology of folk music of the Chinese peoples.

For some other compilations reflecting the blossoming of Chinese musicology, see my posts on Yang Yinliu (with a note on Huang Xiangpeng), Qiao Jianzhong, and Yuan Jingfang.

Got my mojo working

As we bandy around the word “mojo”, its origins in African ritual aren’t necessarily uppermost in our mind.

The wiki article makes a useful introduction. In African-American Hoodoo, mojo is among many terms for a protective amulet consisting of a flannel bag containing magical items, deriving from Islamic practices of West and Central Africa. In West Africa a generic term is juju bags. The gris-gris pouch of the Mandingo spread from West Africa via slavery to the southern States and Haiti, fusing with African-American Christianity (and making a link with Native American cultures). In the 1930s mojo bags were part of Zora Neale Hurston‘s ethnographic research. See also America over the water.

mojo 2

Mulatto ex-slave in her house near Greensboro, Alabama, 1941 (wiki). Caption:
African-American women sewed charms and mojo hands into their quilts for spiritual protection. Newspaper is placed on the walls to ward off evil spirits.

Minkisi

Minkisi, Kongo/Central Africa (World Museum, Liverpool) (wiki). Caption:
Minkisi cloth bundles were found on slave plantations in the United States in the Deep South.
Minkisi bundles influenced the creation of mojo bags in Hoodoo.

* * *

Muddy Mojo

Since the 20th century, the word spread in American culture in movies and songs, coming to refer to sexuality and virility, and more broadly to motivation in general. It became a theme of blues, such as

Little did I realise that Bo Dudley’s “Mama’s got a brand new bag, gonna groove it the whole night long” had such a pedigree.

Chinese folk religion: “belief”

People like Li Wenbin and He Qing perceived no conflict between worshipping the gods and supporting Mao’s broad social goals.

Screenshot

My new film on the 1995 New Year’s rituals in Gaoluo prompted a recent post on the tenacity of rural tradition. Still reflecting on my fieldwork, it’s worth revisiting my remarks in Plucking the winds (pp.277–85, with minor edits) on “belief”—referring to devotional village-wide groups like those of Gaoluo

By 1995, as throughout its history, the association had a patchwork of ritual artefacts made at various times over the last century. The previously bare and unprepossessing “public building”, once fully adorned, becomes a place of great beauty, a fitting backdrop for the association’s ritual performance. But since the 1980s’ liberalisations, unlike many villages in north and south China, and indeed nearby such as Niecun just across the river, Gaoluo has not sought to build new permanent temples.

What beliefs do such artefacts symbolise? Aside from popular belief in Houtu and the God of Prosperity, formidable He Qing, always a fine source for old traditions, said the association worships Dizang, god of the underworld, as the association is said to go back to “the Tang king’s tour of hell”. Members have often said this was a Daoist association, even that Gaoluo was a Daoist village. We must understand this in the context of a dilution of the term Dao, meaning simply ritual. The senior He Yi recalls a tradition that their [melodic instrumental] music was learned long ago from Daoists (laodao), for what it is worth; perhaps a priest attached to the temple of North Gaoluo or the temple of South village. In fact, where one can distinguish, their ritual manuals have a substantial Buddhist component, and they also claim to believe in the Buddhas (fo). Fo and Dao are often interchangeable in these villages.

Association members themselves do not generally worship, regarding participation in ritual activities itself as a form of worship. In fact, women are altogether more prominent as worshippers, despite being excluded from active participation in the association. Incidentally, the name “music association” (yinyuehui, see here and here)  seems to be used less than terms like huitong 会统 “association” and zaijiaode 在教的 “those in the teachings”. Ritual function is paramount: in discussing the activities of the association, villagers also often talk of the scriptures, with terms like “taking out”, “escorting”, or “offering up” the scriptures (chujing 出经, songjing 送经, fengjing 奉经).

Masters of the vocal liturgy: left, Cai Yongchun; right, Li Wenbin.

As to the ritual specialists, while they practise the rituals with considerable intensity, few of them claim to “believe” deeply in the gods. This is a difficult area—my efforts to elicit insights often recall Nigel Barley’s bemusement in Cameroon. Genial Shan Yude, himself a member of the “civil altar” reciting the scriptures, recalled the previous generation frankly: “Cai Fuxiang didn’t really believe, he just learned the liturgy when he was young and got attached to it, like me; he was a Party member. Cai Yongchun believed—he didn’t join the Party.” In these cases there seemed to be a certain negative correlation between Party membership and religious faith.

But it was complex, for few sought or gained admission to the Party, but many more, including Cai Yongchun, were leading participants in the revolution. Anyway, after Cai Fuxiang’s decline, his belief in the gods, or the habit of ritual, endured, but that was not the cause of his later expulsion from the Party. And there were some people, whether Party members or not, who had no time for religious traditions at all, like Shan Yude’s own father: “He didn’t believe in any gods—he was always doing things for the Party, but he didn’t join.” But throughout the area we have found leading local Communist cadres preserving the tradition of reciting their villages’ ritual manuals. People like Li Wenbin and He Qing perceived no conflict between worshipping the gods and supporting Mao’s broad social goals. Whether or not they joined the Party, people’s commitment to the new society was just one element in their psychological make-up: there was no simple correlation between religious belief and identification with the ideals of the new society.

Shan Yude also claimed “Most people in this area aren’t so superstitious, but my grandparents’ generation was more devout.” This may be broadly true: on the Hebei plain, so near the modern ideas of Beijing, faith may have declined more over the 20th century—gradually, note, not abruptly upon Liberation—than in some more remote mountainous regions of inland central China. But again the point needs qualifying. As we saw, belief was already variable among the previous generation of ritual specialists, and continues to be so today. Cai Haizeng’s father Cai Fulü practised the rituals, but with no great commitment; but now, villagers say, Haizeng is a believer, certainly more than his father. Yude himself observed, “Cai Ran and Haizeng are more devout than me. He Qing also believed, but he had a lively mind.”

Yude even admits to not believing at all, like his father. Still, if so, then he practises the ritual with utter commitment: we should distinguish belief in gods and belief in tradition, in the morality of convention. Cai Yurun made a comment that reveals the new social tolerance: “whether villagers believe or not, it’s harmless”. Though it was only officially considered harmless after about 1980, under the Maoist climate of the previous decades private worship might have become rarer, but belief was hard to assess; after all, public rituals had persisted. Very limited scientific advances and an increasingly secular climate had only partially obviated the need for the gods, and people continued to feel vulnerable.

A facile comparison with Europe springs to mind. Regional variations in industrialisation and literacy may partly explain different levels of religious belief, but within particular societies, and between generations, the situation is uneven; north Italy may generally be less “superstitious” than south Italy, but young and old people in both regions may or may not believe. Our problem for China is to recognise variation and put the supposedly dominant control of ideology in perspective. […]

Cai Yurun pointed out: “The saying goes that when they’re folded away the god paintings are just cloth, but when they’re hung out they’re gods. Don’t pay too much attention to our bullshitting normally—as soon as we Open the Altar we’re pretty serious.”

guanfang 1998The lantern tent, New Year 1998, with new and newly-copied donors’ lists.

On pp.304–5 I observed:

As to ordinary villagers, though there are more women than men offering incense, quite few of the people are elderly: young and middle-aged women and young men seem to be more active in this. Many pray silently to the goddess Houtu for a healthy son, or for the health of their aged parents; more generally, people pray for good luck and prosperity. One couple were offering incense for the safety of the husband, who is a driver—even for the most diehard atheist, recourse to divine help is particularly tempting on Chinese roads. The atmosphere is highly jocular as people enter the courtyard. As they go to offer incense and kowtow they look embarrassed, but then when they are actually doing it they become extremely serious. Then as they get up and dust down their trousers, they look all embarrassed again, and, avoiding meeting the gaze of all the onlookers, they leave the area, often going into the “temple”.

So in many such villages over previous decades, the driving force behind the maintenance of ritual practice seems to have become not so much “religious belief” (itself an alien term) as the “old rules” (lao guiju 老规矩) of tradition. Devotional associations provide ritual as a service for the needs of the community. Under “Note on sources” in my introduction to these groups, see also my articles “Chinese ritual music under Mao and Deng” (1999) and “Revival in crisis” (2010).

Besides groups like these, this may even apply to occupational groups of household Daoists such as the Li family in north Shanxi. With the Maoist decades followed by the assaults of popular media and migration, ritual groups in some regions (including Hebei) are now further vulnerable to the secularised commodifications of the Intangible Cultural Heritage. But it would be interesting if one could somehow compare communities further south like Fujian (see under “Elsewhere” in main Menu), where religious faith appears to be a still more pervasive catalyst for popular culture. And of course faith in the gods is still evident in the popularity of spirit mediums, pilgrimages, and so on.

See also Catherine Bell on ritual.

The tenacity of local ritual traditions

Screenshot

Pondering the wider significance of my new film on the 1995 New Year’s rituals in Gaoluo, it strikes me that a major theme is the tenacity of mainland Chinese peasant communities in maintaining their ritual traditions “amidst massacre, invasion, civil war, famine, political campaigns, theft, destruction, banditry, and religious rivalry”—a history detailed in Plucking the winds.

It’s a theme I noted in this post with reference to the different modern histories of the PRC and Taiwan, and it’s all the more relevant today amidst the sanitised packaging of traditional expressive culture from the Intangible Cultural Heritage.

 

Ritual life around Xi’an: an update

I’ve just made some small but important updates to my early article Ritual life around Xi’an. Besides introducing the devotional societies there, urban and rural Buddhist and Daoist temples, former rain pilgrimages, the great Daoist priest An Laixu, the lifelong research of Li Shigen, and my own visits, I’ve at last added some rare film footage unearthed by David Badagnani—all the more precious for predating the flummery of the Intangible Cultural Heritage.

To help negotiate the new Menu, the page is now under “Elsewhere”—here’s a screenshot!

Screenshot

Note also the series on Shaanbei in the same Menu!

My YouTube channel!

I wonder how the new Menu is going down… Under “Roundups” there you’ll also see Playlists. I’ve never even noticed that I have a YouTube channel, but now—with the stimulus of publishing my new film on Gaoluo there—I’ve begun the long process of creating new content.

YT

In due course I’ll upload my other documentaries on Chinese ritual cultures. Meanwhile I’m gradually adding playlists to reflect some main topics of this site, so far including

This exercise might seem a tad nerdy, but I naively imagine the selection in the playlists may lead the listener [singularEd.] to the numerous posts in which I expand on them—hmm, I spend all my time going on about how silent immobile text isn’t enough, and I now find myself pointing out that film isn’t enough—No Pleasing Some People…

A new menu!

umbrella

Now that I’ve supplemented my  portrait film of Li Manshan with precious footage from the 1995 New Year’s rituals in Gaoluo, I feel it’s time to rearrange the deckchairs on the Titanic by revamping the Menu.

Here’s an instance of the submenus:

Screenshot

With a personal selection of some main topics, I hope it’s now more user-friendly. It’s work in progress, and doubtless I will continue refining it in the coming months, so please Bear With while I edit links throughout the site. It may take us all a while to get used to it—do keep using the search box too.

The new sequence (with many sub-menus to explore) goes

  • Home (also under reconstruction!)
  • POSTS
  • Li family Daoists
  • Gaoluo
  • Hebei
  • Elsewhere (Shaanbei, Gansu, Fujian…)
  • Themes (Zhengyi/Quanzhen, Fieldwork, Ritual, Famine…)
  • Roundups (including folk traditions around the world)
  • Western Art Music

Good luck! Feedback welcome.

Gaoluo 1995: new film!

Screenshot

YAYY, I’ve finally got round to publishing my new documentary on the 1995 New Year’s rituals in the village of Gaoluo just south of Beijing!!! Click *here* for the film and commentary—a page under the new Gaoluo rubric that now forms part of a totally revamped Menu. The film link is to my (currently small but perfectly formed) YouTube channel.

“Alevi music” in Turkey

Faruk Zoom

Despite my lamentable lack of background in Turkish cultures, I have dabbled in Alevi ritual—on which scholarship is clearly thriving (for Istanbul, see here and here; for Anatolia, here). Last week I learned from a talk at the Orient-Institut in Istanbul, when Faruk Çalışkan (Istanbul Technical University) introduced his research, based on his recent PhD thesis.

His work focuses on the music of Alevi âşık minstrels with their bağlama plucked lute, who have a long history of performing songs separately from their role in accompanying the vocal hymns of the dede ritual leader at cem ceremonies, coming to wider fame through the recording industry (see e.g. articles by Thomas Korovinis and Ulaş Özdemir in Landscapes of music in Istanbul, and studies of bards such as Aşık Veysel and Neşet Ertaş).

Referring to concepts such as Actor-Network Theory, Çalışkan’s work is amply theorised. And as an experienced bağlama player, he gains much from participant observation, navigating between the roles of listener, performer, and scholar:

As a listener, he observes how differently âşıks are imagined; as a performer, he experiences how âşıks imagine themselves, their positions, roles, and legacies; and as a scholar, he observes the wide network of mainstream artists and folk music performers, including bağlama players and instrument makers.

While the music of the âşıks has been popularised since the days of cassettes, Çalışkan examines commercial and non-commercial recordings across various genres that circulated on digital platforms since the 2000s. The video market, with TikTok and Instagram, must also be substantial, as well as online forums. 

This dynamic process involves a broad spectrum of actors—singers, bağlama players, collectors, archivists, and the music industry itself. By tracing these re-enactments and the roles of various human and non-human actors, his thesis reconsiders the circulation of âşık music in a kaleidoscopic manner and highlights its multidimensional presence and influence.

In his work he pays attention to the legacies of âşık Nesimi Çimen (1931–93, who died in the Sivas massacre) and âşık Mahzuni Şerif (1939–2002).

Âşık Mahzuni (left) and âşık Nesimi.

Their recordings can be found online—for âşık Mahzuni, e.g. this:

And âşık Nesimi:

I am reminded of my caveats in Unpacking “Daoist music”; rather than a separate topic to be outsourced to musicologists, soundscape should always be part of our studies of ritual and culture. But whereas “Daoist music” is a misleading concept imposed by outsiders, a distortion of the underlying ritual fabric of the whole Han-Chinese population, the Alevis are an embattled minority actively creating their own images. The song lyrics are clearly crucial. For China, perhaps a more apposite parallel might be daoqing 道情 narrative-singing, with its Daoist origins later absorbed into popular expressive culture, no longer limited to ritual.

Outsiders like me need to keep trying to grasp basic issues. While the bağlama is far from exclusive to the Alevis, they attribute a particular significance to it, setting forth from its ritual function. Similarly, the whole âşık phenomenon extends to non-Alevis (Kurdish, Turkish, and beyond)—besides subsuming a range of behaviour beyond “music”. * I also wonder about similar marketing ploys like “Sufi music” or “dervish music”.

Çalışkan continues to unpack definitions of “Alevi music”, a theme pondered by scholars such as Ulaş Özdemir and Ayhan Erol. As he suggests, for older generations the terms “Alevi” or “music” were largely redundant. But the recording industry has enhanced the identity and visibility of the Alevis—influential instances that Çalışkan cited include the 1980s’ Muhabbet albums and the work of Arif Sağ, the Kalan series Aleviler’e (see e.g. this playlist), and Kızılbaş albums with their theme of resistance. Still, Çalışkan reminded us of the evolving tradition of Alevi communities around Anatolia, and their whole social and cultural identity. So while “music” and its commodification are clearly important, we should bear in mind the over-arching topic. Yet another world into which I shouldn’t presume to venture…


* For Uyghur ashiq, see here.

In memory of Du Yaxiong

DYX 1
Source.

I was sad to learn of the death of the distinguished Chinese musicologist Du Yaxiong 杜亚雄 (1945–2024). Here I reproduce an eloquent tribute in the recent CHIME news bulletin:

One of China’s finest and most prolific ethnomusicologists and music educators, Du Yaxiong (杜亚雄), has passed away from illness on 7 October, 2024. We mourn his loss, not only as a fine pioneer scholar in realms of Chinese and ethnic minority musical studies, also as a warmhearted and flamboyant personality, a committed promotor of traditional music, a gifted and infectious speaker at academic conferences (including several editions of CHIME), and an author of many important studies (more than twenty monographs and 200 articles were published in English, in Hungarian and in Chinese). He was a respected scholar and very inspiring colleague. Du also had a big heart for primary and secondary music education in China, and was very active in this field until his very final years, greatly inspiring young people in Hangzhou and publishing a landmark set of his own teaching materials in 2016.

Du Yaxiong grew up in Lanzhou in a family of doctors. He graduated from the Music Department of Northwest Normal University in 1965, and received a Master of Arts degree from Nanjing University of the Arts in 1981 under Gao Houyong, after which he joined the China Conservatory of Music in Beijing as a Professor of Music. Later he studied at the University of British Columbia in Canada and obtained a doctorate in philosophy.

His parents did not understand music, but they respected their son’s professional career choice. They had noticed very early on how much music affected their son: during his years in elementary school, Du won the first prize in a children’s singing competition, and also learned to play the bamboo flute. As a flutist he acquired a preliminary understanding of structural principles of folk music. He eventually gave up any idea of becoming a doctor, instead joining music classes at the Lanzhou Art College, where he also began to compose songs and piano pieces. Later (when that college merged into Northwest Normal University) he shifted his major to music education. A defining experience was his participation in a folk-song collection mission in the Hexi corridor in Gansu Province. It set him firmly on the trail of ethnomusicological research: from 1963 onwards, he recorded hundreds of Yugur folk songs and mimeographed them.

At the China Conservatory, Du Yaxiong served as the Head of the Department of Musicology for thirteen years, and he maintained close connections with this institution also afterwards. From 2003 he was active as a lecturer at various institutions in Hangzhou, first at Hangzhou Normal University, and from 2014 at the Hangzhou Greentown Yuhua School, where his music-educational projects left a deep impression.

Du conducted extensive fieldwork on traditional and folk music, not just in China, but in over ten countries. He served as a visiting professor at the Institute of Music of the Hungarian Academy of Sciences, the Victoria University of Wellington in New Zealand, the Institute of Folklore of Indiana University, and the School of Performing Arts of Youngstown University (Ohio) in the USA. In 1986, he was awarded the title of National Expert by China’s State Council for his outstanding achievements in teaching and research.

Among other things, Du explored at length the relationship between Chinese and Hungarian folk songs, and published a book on it in 1989: A Comparative Study of Chinese Folk Songs and Hungarian Folk Songs. The incentive for this went back all the way to 1963, when he began his long-time research on Uygur dialect songs in Gansu (he mastered the Uygur language to perfection) and found that it was not hard to detect the close relationships between local Uygur (Yugur) melodies and the Hungarian folk tunes collected and published by Bartók and Kodaly.

During his stay 1991-92 at the Institute of Folklore at Indiana University, he took the opportunity to study and collect Native American music. He was twice awarded the Rockefeller Foundation’s Bellagio Residency, in 1996 and in 2008, and it was in the USA that he completed two of his major publications, Traditional Chinese Music Theory (中国传统乐理教程) and Traditional Music Culture of Chinese Minorities (中国少数民族传统音乐文化). His range of research also included northern Chinese village rituals, music of the Silk Road, Hua’er folk songs of northwest China (about which he published in the CHIME journal), and analytical studies of Chinese pentatonic scales and a number of historical subjects.

We remember him for his excellent work and original mind, but also for his congenial smile and radiant presence in academic meetings. May he rest in peace.

* * *

DYX 2
Source.

[SJ:]
I made a few brief fieldtrips with Du Yaxiong to the countryside just south of Beijing in the 1990s, when he introduced me to the Buddhist-transmitted ritual association of North Xinzhuang (see under Ritual groups of suburban Beijing).

n-xinzhuang-processionEarly morning procession to the soul hall, North Xinzhuang 1995. Photo: Du Yaxiong.

I often chuckle over a story he told me about his student years, just as traditional music and scholarship were reviving after the downfall of the Gang of Four. The great Huang Xiangpeng was delivering an erudite lecture on the arcane systems of modes and scales documented in ancient sources. In conclusion he encouragingly commented, “In fact, I’m just using a very complicated language to describe something very simple!”, whereupon the young Du Yaxiong put up his hand and said, “Excuse me, Teacher Huang, but could you possibly use a very simple language to describe something very simple?!”.

For some other luminaries of Chinese musicology, see my posts on Yang Yinliu, Qiao Jianzhong, and Yuan Jingfang.

Soundscapes of Dunhuang

Dunhuang gig

Along with the Silk Roads, that reliably popular buzzword, the Mogao Buddhist cave complex outside the oasis town of Dunhuang occupies a unique position in studies of medieval Central Asia. Having thrived for a millenium from the 4th century CE as a staging post along the trade and pilgrimage route, by the 14th century Dunhuang was a backwater—until its long-hidden treasures were discovered by European explorers in the early 1900s.

Wang Yuanlu
Daoist priest Wang Yuanlu, who entrusted many manuscripts to Aurel Stein
and Paul Pelliot from 1907. Source.

Dunhuang caves

The manuscripts are written in a variety of languages, with Chinese predominating.

Alongside the British Museum’s current Silk Roads exhibition, the British Library’s International Dunhuang Programme has an impressive collection, sampled in the display “A Silk Road oasis: life in ancient Dunhuang“—with an imaginative soundscape compiled by the industrious Wei Xiaoshi of the China Database for Traditional Music (CDTM). Among a series of related events, this week Wei curated a concert at the BL.

The soundscapes of society are important. Early caves like those of Dunhuang contain a wealth of music and dance iconography, much studied in China. Instruments * depicted there—mainly as part of ensembles—have been reproduced by Chinese scholars. Echoes of the medieval oasis-towns were heard at the court of the Tang capital Chang’an (modern Xi’an), venue for the first world-music boom (see here, and here). Yet early iconography and texts are silent and immobile (alas, the Dunhuang caves haven’t yielded any caches of A/V recordings!). ** And whereas Western performers in the modern tradition of HIP have paid attention to the sound and performance practice of medieval European music, within China attempts at recreation have yielded less palatable results (cf. Tang music), leaving too much at the mercy of the modern imagination—a bandwagon onto which composers and performers climb all too readily without undue concern for authenticity.

The unspoken issue of context deserves pondering. Early murals show idealised representations of the distinct social milieu of celestial musicians (apsara, Chinese feitian 飛天) before the gods; as in Europe, their function in a pious medieval society was far different from that in galleries and museums today. Similarly, modern sonic recreations are performed on the concert stage (cf. Bach)—a venue far removed both from those of the murals and from the diverse human contexts of traditional social musicking in ancient and modern China, whether sacred or secular.

cave 112

Musical ensemble from Cave 112 (detail), mid-Tang, including zheng zither (front left).
Source.

Doubtless thanks to a limited budget, it was a relief that Wei Xiaoshi adopted the modest rubric “Contemporary echoes of an ancient legacy”, making no pretence of recreating the medieval soundscape, thus avoiding the kitsch spectaculars that are rife in China.

Three accomplished solo performers performed in turn: the Uyghur Shohret Nur on rawap and dutar lutes with busy, percussive pieces from his hometown of Kashgar; the Amdo-Tibetan Ngawang Lodup accompanying his florid singing on mandolin (an instrument widely adopted in modern times by folk musicians around the world) and dramyin lutes—also featuring, to my distress, the notorious “singing bowls” (which “there is no credible historical evidence, whatsoever, of Tibetans ever having used”, in the words of Tenzin Dheden); and the innovative Chinese Wu Fei on zheng zither (whose modern version, FWIW, is remote from that seen in the Dunhuang murals) and vocals. They ended with an improvised trio that I can only describe as strange.

The audience didn’t seem to mind the tenuity of any relation with Dunhuang, ancient or modern. Rather, the concert made a pretext simply to admire the artistry of these fine musicians—from roughly the same part of the world, a millenium after the murals were depicted. Still, were one to present a concert complementing exhibits from the court of Charlemagne (e.g. here), it would hardly seem relevant to present traditional musicians from various parts of France. A millenium is a long time.

It was never going to seem suitable to air the topic of politics, but it was an elephant in the room. As Wu Fei replaced the Uyghur and TIbetan performers on stage with her polished conservatoire-style zheng playing and vocal items, it might just have crossed one’s mind how Han-Chinese rule since 1950 has engulfed Uyghur and Tibetan societies.

Anyway, while research on medieval Dunhuang occupies its own niche, it’s always good to be reminded, however impressionistically, of the variety of living musical traditions throughout the ethnic bazaar of Central Asia, as they have evolved over time (cf. the 2002 Smithsonian festival, or this tasteful concert). For another Silk Roads concert at the BM, click here, and for a symposium, here.

* * *

Dunhuang photoPhoto from German Central Asian Expedition, undated (early 20th century):
shawm and percussion accompanying pilgrims (cf. the Uyghur mazar). Source.

Putting medieval iconography and modern concerts to one side, I muse idly on the potential for documenting folk expressive cultures around Dunhuang since their heyday—from the 14th century down to today. So I look forward to reading the recent compilation Dunhuang minjian yinyue wenhua jicheng 敦煌民间音乐文化集成 [Anthology of folk musical cultures of Dunhuang], comprising three volumes on folk-song, “precious scrolls“, and regional opera.

Dunhuang mapThe Dunhuang region today. Source: Google Maps.

Nearby along the Hexi corridor, household Daoist groups perform rituals—for these and other living Han-Chinese traditions in Gansu, click here, and for the cultures of other ethnic groups in the Amdo region, here. For the troubled history of the Dunhuang Academy in the 1960s, note volume 2 of the memoirs of Gao Ertai. For museums and soundscape, see China’s hidden century. Posts on the Tang are rounded up here.


* A personal favourite of mine is the konghou harp, whose rise and fall were similar to that of Dunhuang itself: following the early research of Yuan Quanyou, see e.g. here, here, and even wiki

konghou DunhuangKonghou, Cave 285, 6th century (detail).

** By a considerable margin, this beats my fantasies of discovering ciné footage of the Li family Daoists presiding over the 1942 Zhouguantun temple fair, or of the first performance of the Matthew Passion.

Henan: folk instrumental traditions

Despite all its flaws, the vast Anthology of folk music of the Chinese peoples remains an essential starting point to survey the ritual life and soundscapes of regional folk cultures. For the province of Henan, I’ve written posts on bards and spirit mediums; now, while bearing in mind the volumes on folk-song, narrative-singing, opera, and dance, I’ve been skimming the Anthology volumes on instrumental music, where much of the material on ceremonial and ritual life appears (cf. my surveys for Fujian, Liaoning, and Tianjin, as well as Two local cultural workers):

  • Zhongguo minzu minjian qiyuequ jicheng, Henan juan 中国民族民间器乐曲集成, 河南卷 (1997; 2 vols, 1,515 pages).

Though the great bulk of the volumes consists of musical transcriptions (never very helpful in the absence of available recordings), and the quality of the textual essays is even less satisfactory than in many of the other volumes, clues may be found in the terminology for regional genres and names of bands and musicians.

Henan mapHenan municipalities. Source.

While the early history of musical cultures in Henan is reflected in a wealth of iconography and excavations (for which, see further Zhongguo yinyue wenwu daxi, Henan juan 中国音乐文物大系, 河南卷, 1996), the main material is based on fieldwork on living traditions. Major themes in the modern transmission of local cultures, always suppressed in PRC historiography, are poverty and the memory of trauma (cf. Memory, music, society, and Sparks). But the Anthology rarely offers glimpses of this submerged history; in the narrative-singing volumes for Hunan province I found some passages bearing on the famine around 1960 (here, and here), but Henan suffered even more grievously, and looms large in studies of the national catastrophe. *

Shawm bands
By now we are used to finding the Anthology‘s most substantial coverage devoted to “drumming and blowing” (guchui), referring to shawm bands serving life-cycle and calendrical ceremonies. After the general survey (pp.9–11), the introduction to these bands (pp.29–35) preceding the many transcriptions is brief and formulaic.

Henan pics 4

Xiangbanzi, Sanbi, Xinyang
Shawm band, Xunxian funeral
Shawm band, Linxian funeral

Bands are commonly known as xiangqiban 响器班, and the shawm as dadi ⼤笛, often supported by the related wind instruments xidi 锡笛 and menzi 闷⼦. Many bands have added the sheng mouth-organ since the 1930s.

The introduction confirms the lowly outcast status of the musicians in the “old society”. Locals distinguish those who only play shawm (qingshui 清水) and those who also work as barbers (hunshui 混水). In Zhoukou municipality alone, 300 bands were documented at the time of compilation.

In sections near the end of vol.2, following introductions to the Song family shawm band of Kaifeng (a kind of folk academy for the state troupes) and the shawm band of Shibukou in Lankao county (pp.1422–23), brief biographies (pp.1425–35) contain further clues. Many of these musicians came to the attention of collectors through being absorbed into the state troupes, but any of their lives would make an illuminating in-depth social study—incorporating the history of Maoism, the famine, and the 1980s’ reforms.

Henan pics 2

Guanzi player, Tianshan village, Longmen, Luoyang
Xun ocarina player, Puyang
Shang Yuanqing on shawm, Neixiang
Shengguan players, Xinzheng.

Female members of shawm-band families seem to have begun taking part earlier than further northwest (cf. Hubei: The Chinese shawm: changing rural and urban images).

Henan pics 3

Chuida in Neixiang county, and Bayin louzi of Zhoukou
Sixian luogu, Shangcheng county
Shipan, Yima municipality.

Also subsumed under the rubric of “drumming and blowing” are groups in central and northwestern Henan led by guanzi oboe or dizi flute: the shipan ⼗盘 of the Luoyang–Sanmenxia region (named after its ten-gong yunluo, and akin to ritual shengguan ensembles just north); the amateur bayin hui ⼋⾳会 around Jiaozuo (with a more diverse instrumentation) and bayin louzi ⼋⾳楼⼦ of Zhoukou municipality (named for their processional sedan), once patronised by Shanxi merchants.

Bayin louzi

Zhoukou Bayin louzi 1423

Clues to the Shanxi origins of the Bayin louzi in Zhoukou.

String ensembles
By comparison with wind bands, string ensembles (“xiansuo”) are rather under-represented in modern Chinese folk cultures (see e.g. Amateur musicking in urban Shaanbei; Musicking at the Qing court 1: suite plucking). In Henan the main genre is bantou pieces 板头曲 (pp.724–894), along with their zheng zither repertoire, largely collected around Zhengzhou (cf. The zheng zither in Shandong)—the instrumental component of the dadiao vocal tradition, based on 68-beat variants of the folk melody Baban.

Cao Dongfu
Cao Dongfu.

Despite biographies of the celebrated zheng masters Wang Shengwu (1904–68), Ren Qingzhi (b.1924), Cao Dongfu (1898–1970) and his daughter Cao Guifen (b.1938), one gains little impression of the recent maintenance of this tradition.

Blowing and beating
Without acquaintance of “blowing and beating” (chuida) pieces around the Funiushan and Dabieshan mountains, I’m unclear how they differ in style from the shawm bands discussed above. In Shangcheng county on the northern slopes of Dabieshan, mixed ensembles with strings and percussion (sixian luogu) are found. The famine around 1960 was particularly devastating in the Xinyang region; bands there, derived from shadow puppetry, are said to have “developed” greatly in the 1950s.

Henan pics 1

“Greater tongqi“, Zhumadian
Pangu, Kaifeng
Percussion ensemble, Weidu district, Xuchang
Percussion ensemble, Mixian county.

Festive percussion ensembles are introduced in a rather good article (pp.1061–66), including tongqi she societies (cf. Xi’an) originally serving temple fairs (with 87 groups active in Xuchang municipality alone at the time of compilation), and the funerary jiagu 架鼓 of Taiqian county, northeast Henan.

More solo pieces are identified than for most other provinces (pp.1197–1334), although most perhaps belong under ensemble and vocal categories: for dizi flute, regional types of bowed fiddles (zhuihu, zhuiqin, sihu, “soft-bow” jinghu), the rare bowed zither yazheng, zheng plucked zither (related to the bantou tradition), and sanxian plucked lute.

“Religious music”
Noting that the very concept of “religious music” is misleading, I often wish that local music collectors would engage with folk ritual practice—and scholars of religion with its soundscape. For regions such as Fujian, on whose local Daoist “altars” scholars have published detailed monographs, little can be learned from the sections on “religious music” in the Anthology; but for regions where serious scholarship is deficient, these sections at least promise some preliminary leads. Despite the long-term social impoverishment of communities in Henan, folk ritual practice there appears to maintain its vigour, yet the minimal Anthology fieldwork yielded disappointing results, and the topic still doesn’t seem to have attracted scholarly attention.

Transcriptions of Buddhist pieces, mostly instrumental, come from Yuanyang, Qixian, Minquan, Zhengyang, and Wuzhi counties, with only two vocal items (from Xinxiang municipality). This section strangely neglects the prominent Xiangguo si temple in Kaifeng, whose “music” was commodified even before the Intangible Cultural Heritage era, although the temple’s Republican-era gongche solfeggio score is reproduced in an Appendix (pp.1441–85). Daoist pieces are transcribed from Yanling, Xunxian, Pingyu, and Huaibin counties; the introduction (p.1378) also mentions a household Daoist group in Gegang district of Qixian county.

Henan pics 5

[Household?] Buddhist ritual specialists, Xinxiang municipality
Buddhist monks, Lingshan si temple, Luoshan county
Household Daoist presides over funeral, Tongbai county.

Hints of ritual life come in the guise of two brief biographies of wind players who were recognised at regional and provincial festivals in the 1950s:

  • Zhang Fusheng 张福生 (Daoist name Yongjing 永净, b.1918) came from a hereditary family of Daoists; he fled the 1942 famine along with his father and seven Daoist priests to make his home at the Guangfu si temple in Yanling county (p.1428).
  • Sun Hongde 孙洪德 (Buddhist name Longjiang 隆江, b.1927) came from a poor village in Minquan county; when he was young his mother gave him to the village’s Baiyun si temple, and later he moved with his master Canghai to the Tianxing si temple in Jiangang district of Shangqiu municipality (p.1430).

So far I have found few clues online to augment this paltry material, though a brief 2004 article on “Daoist music” in south Henan (where the officiants are commonly known as daoxian 道仙) is based on fieldwork with six “altars” (tan 坛) there. Further leads welcome!

* * *

A/V recordings of such folk traditions are hard to find online; some brief clips appear on douyin, e.g. “folk ritual from Xinyang” here. Perhaps still more than with local traditions of instrumental music further north and northwest, most of these genres are inseparable from folk-song, narrative-singing, and opera—as a reminder of the importance of vocal music, here’s a clip of “wailing for the soul” (kuling) for the third anniversary of the death:

In the Shaanbei revolutionary base area in the 1930s, cultural cadres struggled to valorise folk performing traditions that were so inextricable from the “feudal superstition” which the CCP was seeking to overthrow (see here). The long process of sanitising such traditions has now reached its nadir in the dumbing-down of the ICH. So, however unsatisfactory, the Anthology remains an essential starting point for fieldwork on local traditions of expressive culture in China, allowing us to adjust our perspective from the “national music” of the conservatoire style, through facile epithets (coined in the 1950s) standing for the music of a large region (Hebei chuige, Jiangnan sizhu, and so on), right down to grassroots fieldwork—town by town, village by village.

While the Henan volumes contain useful material on late imperial and Republican history, what we now need are detailed ethnographies for the whole period since the 1949 “Liberation”, as the social fabric of local communities served by such traditions struggled to survive political and economic assaults.


* For Henan, see e.g. Ralph Thaxton, Catastrophe and contention in rural China (2008), and Peter Seybolt, Throwing the emperor from his horse (1996). For more sources on the famine, see under Cultural revolutions.

Ethnomusicology rocks!

Nettl

As a cogent survey of the vast topic of ethnomusicology, I never tire of recommending Bruno Nettl’s magisterial survey. To keep up with the state of the field, at the forefront of journals (click here) is Ethnomusicology, under the aegis of SEM. I’m quite resistant to conferences, but browsing the programme for this year’s SEM virtual gathering from 17th to 26th October makes an update on the breadth of research, both daunting and inspiring.

The talks, panels, and films on a wealth of themes subsume much of the globe, including devotional music, jazz, gender, post-colonialism, festivals, the internet, violence and trauma, historical ethnomusicology, and research tools. Just a tiny selection to whet your appetite, inevitably reflecting my own tastes:

On this blog, the world music category has a range of stimulating posts, including Society and soundscape and What is serious music?!, as well as series on raga and flamenco.

The Chinese shawm: changing rural and urban images

Shawm-and-percussion bands occupy a lowly but vital position in folk cultures around the world. Throughout rural China they are the major performers for life-cycle and calendrical rituals, as is clear from the monumental Anthology of folk music of the Chinese peoples. * 

For folk expressive cultures, our evidence for change before the early 20th century is limited to the inspection of historical documents and iconography; for the whole modern period since the Republican era, our sources are hugely enriched by fieldwork. Continuity with the imperial heritage tended to be obscured by the political interventions of the Maoist era, but was revealed again by the massive revival of local traditions in the early reform period of the 1980s—documented in the Anthology and coinciding with my own fieldwork.

In two books (with DVDs) I introduced shawm bands of north Shanxi (2007) and Shaanbei (2009)—see under Other publications. In my survey Walking Shrill I outlined their lowly milieu: however indispensible,

shawm bands were always at the bottom of the social pile. Virtual outcasts, they were often illiterate, bachelors, opium smokers, begging in the slack season, associated with theft and violence.

For the period before and after the 1949 Liberation, some players were visually impaired, as shown in the rich material of the Anthology; while I still came across senior blind musicians during my own fieldwork in north Shanxi and Shaanbei through the 1990s, fewer remained active (similarly, sighted bards were encroaching on the livelihood of blind performers). But most sighted players still had a somewhat unsavoury reputation, partial to alcohol and amphetamines.

Coinciding with the revival, the Anthology fieldwork came at the most opportune time to document local traditions. But today’s society is already very different from that of the 1990s, with pervasive changes escalating . So I’m curious to learn how widely the outcast status of shawm bands still applies. We certainly can’t draw conclusions about the broad picture on the basis of the ideology of the urban troupes and conservatoires—the mere tip of a vast iceberg. Much of my work documents underlying rural customs that resist or circumvent such values—as they did even during the Maoist era. A different mode of state intrusion (or shall we say “presence”—e.g. Guo Yuhua ed., Yishi yu shehui bianqian) may now apply, but it’s never the whole story.

CWZ big bandChang Wenzhou’s big band at village funeral, Mizhi 2001.

I was not entirely oblivious to recent change. I described how shawm bands were turning to pop music, incorporating the “big band”, adding trumpet, sax, and drum-kit, in north Shanxi (2007, pp.30–38) and Shaanbei (2009, pp.149–53); and for the latter region I gave a vignette on the image presented by an urban troupe (pp.210–12, recast here). I have noted how the new wave of pop culture since the 1980s promised to be more successful in erasing tradition than political campaigns during the decades of Maoism.

* * *

Detailed ethnographic updates are scarce. At SOAS, Feng Jun has just completed a fine PhD thesis on paiziluo shawm bands in southeast Hubei—an instrumentation which, perhaps exceptionally, dispenses with drum in favour of gongs.

Left, paiziluo after dinner at funeral.
Right, two paiziluo bands performing simultaneously in the ancestral temple.
Images courtesy of Feng Jun.

Feng Jun discusses the role of these bands in funerals and ancestral ceremonies, which still require a largely traditional repertoire—whose modal variations she analyses in detail. But she also highlights weddings, which have long featured more innovative popular pieces (cf. my Shaanbei book, pp.188–9, and DVD §D2). Performers now “selectively appropriate diverse musical spectacles, particularly through the national Spring Festival Gala, and project their own re-imagining of these spectacles in the ceremonial spaces of village rituals.”

Left, brass band performing for village wedding.
Right, dancing to the song Rela nüren (“Hot and spicy women”).

The increasing participation of women is another trend that I haven’t kept up with. I noted how shawm-playing men might encourage their daughters to take part in the family band, at least before marriage, since the 1980s; but in Hubei, with men often absent as migrant labourers in distant towns, married women now not only take part in paiziluo groups but form their own brass bands—another radical innovation. Feng Jun goes on to unpack the practical impact of the Intangible Cultural Heritage (ICH), now an unavoidable topic—where a plethora of detached academic analysis detailing its negative effects never manages to convey just how damaging it is.

In Hubei Feng Jun found no such prejudice against shawm-band musicians as has been documented in north China—which she explains by the greater lineage cohesion of southern society. This makes me wonder if their exclusion from mainstream society is less widespread than my material suggests. So we might consider two caveats referring to space and time: differing long-term regional customs, and recent social change. For the former, we might go back to other provincial volumes of the Anthology for more clues. As always, there will be regional variations, depending partly on the poverty and insularity of a locale. For the mid-20th century, I suspect my impression still holds good for the north and northwest, and for the Shandong–Henan region; perhaps less so as one goes further south.

And even in more backward areas, as the country has become more affluent and villages further depopulated by migration to the cities, peasants seek upward mobility through education while the influence of national trends expands greatly through social media. For some shawm families, other more reliable and salubrious livelihoods beckon; but those younger generations who still take up the trade of their elders tend to spruce up their former lowly image.

Musical change is perhaps more evident in public events (including temple fairs), that can be exploited by cultural authorities, than in domestic rituals such as funerals or the activities of spirit mediums. Household Daoists are also invited for funerals in southeast Hubei—their rituals doubtless also changing, if less obviously than those of the shawm bands.

All this is probably a question of emphasis: pop music was already part of the rural scene by the time the Anthology was being compiled, but was mentioned there only in passing. Innovations that I still considered minor only twenty years ago would now be a significant part of our description.

* * *

In Walking Shrill I outlined the minor presence of the suona in the conservatoire (cf. jazz, which has also gained admission to the academy since the Golden Age). Indeed, while the term suona is used in historical sources, it now belongs to the conservatoire, folk musicians preferring a variety of local terms; where they do adopt the word, it is itself a badge of modernity.

Though the shawm lacks the suave image of erhu, zheng, or pipa, it has long had a foot in the conservatoire door. Under Maoism since the 1950s, state-funded Arts Work Troupes featured suona solos by celebrated “folk artists” such as Ren Tongxiang (heard e.g. on the archive CD Xianguan chuanqi). After the 1949 Liberation, some shawm players from hereditary traditions became conservatoire teachers, training younger generations from similar backgrounds—like Liu Ying, who found his way from rural Anhui to join the Shanghai Conservatoire soon after the downfall of the Gang of Four in 1976. And far more than other instrumentalists in the conservatoire, Liu Ying’s pupils tended to come from a poor rural background, the Shandong–Henan region (see here, and here) remaining the heartland for such recruitment.

Even if rural musicians won’t necessarily make a lot more money in this new environment than they would back home (cf. Ivo Papazov—see here, under “Bulgaria, Macedonia”), they will naturally leap at any prospect of upward mobility. The troupes and conservatoires make a promising route to urban registration, an escape from a tough life (cf. The life of the household Daoist); still, they will never be able to absorb more than a minor intake.

As to the shawm band musicians who remain in the poor countryside serving life-cycle and calendrical ceremonies, their lives and livelihoods are changing. But thanks to the internet, the polished style of the conservatoire virtuosi is one strand among a range of new images to emulate. 

Chinese scholars write academic theses on regional shawm-band traditions—although they are surely at a disadvantage under a system that still discourages the participant observation that is routine in Western ethnomusicology. So I suppose the idea of a PhD in suona studies, combining performance and writing, shouldn’t seem so comical to me. “China’s first suona Ph.D. is ready for her solo” is perhaps only a clickbait headline for the likes of me (cf. this more detailed article in Chinese).

Liu Wenwen youngA young Liu Wenwen performs with her parents. Source.

At the Shanghai Conservatoire, Liu Ying’s pupil Liu Wenwen (b.1990—no relation!) recently gained China’s first PhD in suona, for which she had to perform three solo recitals and write an original dissertation. Her father Liu Baobin is descended from a shawm lineage from southwest Shandong, and is said (here) to be a pupil of Ren Tongxiang; her mother Liu Hongmei comes from a long line of shawm players in Xuzhou in northwest Jiangsu. Unlike in the northwest, in the Shandong–Henan region the custom of absorbing female players into family bands appears to date back several decades. Practising from childhood under her parents’ guidance, Liu Wenwen began making journeys to Shanghai for lessons with Liu Ying, and by the age of 15 she enrolled at the conservatoire to study formally with him.

As household Daoist Li Qing found in north Shanxi when he escaped the worst of the famine by taking a job in the regional Arts Work Troupe, the conservatoire style consists largely of quaint “little pieces”, often using kaxi techniques to mimic bird-song. This repertoire never approaches the complex grandeur of traditional shawm suites (note Dissolving boundaries); and even when “little pieces” are a significant component of rural practice, they are performed (and creatively varied) within the context and rules of lengthy life-cycle and calendrical ceremonies.

In the troupes and conservatoires we also find change through different eras—not least in the spin put on the rural background. Under Maoism the suona soloists of the Arts Work Troupes fostered the image of peasants nobly toiling for the common cause, whereas publicity for today’s suave virtuosi deflects the political spin for a more glamorous image, with aspirational hype about “ascending to the hall of great elegance” (deng daya zhi tang) on the concert stage, trumpeting the success of modernisation. In both images the actual conditions of the countryside are irrelevant.

Left, village band performing for funeral, Shaanbei 1999.
Right, Liu Wenwen accompanied by Tan Dun. Source.

In the case of Liu Wenwen, gender again plays a role in innovation. On the international stage, her playing has made another bandwagon for composer Tan Dun. The differing contexts entail adaptations in costume; the headscarf of the male peasant, emblem of the revolution, is now only paraded for kitsch staged performances and the ICH. **

It’s worryingly easy for the conservatoire tip of the iceberg—and the ICH—to obscure both local traditions and the pervasive changes taking place in the countryside, revealed in fieldwork like that of Feng Jun.

See also The folk–conservatoire gulf, and Different values.


* Besides the Anthology‘s introductions to regional traditions, the volumes conclude with useful sketches of groups, and biographies; for some instances, see e.g. Liaoning, Tianjin, Henan, Fujian, Ningxia. See also Two local cultural workers.

** I wrestled with this issue in presenting the Hua family shawm band on stage; after teething issues in Washington DC in 2002, I was able to opt for suits without ties, a cool look that doesn’t conflict too much with their casual local attire. The band may have been gratified by their brief residency at SOAS in 2005, but, free of pressure to glamorize their image or simplify their repertoire, it was very different to the long-term cultural shift embodied by players like Liu Ying and Liu Wenwen.

BTW, when visited by academics, peasants may initially appear impressed; once they discover that we’re totally hopeless at any useful, practical task, their respect may turn to consternation as our credentials prompt envy at our mystifying ability to cadge an “iron food-bowl”. This is an element in the Li family’s magnificent Joke, which follows the final credits of our film!

Yanggao: a distant Daoist connection

Pardon 1991The Li family Daoists perform the Pardon ritual at village funeral, Yanggao 1991.

My first visit to Yanggao in 1991 began an enduring relationship with the Li family Daoists and other ritual specialists of the otherwise unprepossessing county in north Shanxi. The great Li Qing (1926–99) was the seventh generation of household Daoists in the lineage, his son Li Manshan the eighth (besides my film and book, posts are rounded up here, including More Daoists of Yanggao, and Yanggao personalities).

Earlier this year I wrote about the venerable Buddhist monk Miao Jiang, also born in Yanggao. Now, thanks to Yves Menheere, I’m intrigued to learn of another native of the county: Li Wencheng 李文成 (no relation to our Daoist lineage!), an “old revolutionary” who miraculously became General Secretary of the Chinese Daoist Association in his 60s. He has just died at the age of 97, prompting nationwide memorial ceremonies (clearly secular services!).

Focused on the PRC, the Bitter Winter website’s coverage of (abuses of) religious liberty and human rights is important, even if I sometimes quibble with its stance (such as here). To augment its obituary of Li Wencheng I’ve gone back to the (selectively) detailed interview by the Chinese Daoist Association in 2021 (and this shorter eulogy, even more conformist). Bitter Winter is indeed frosty:

The former General Secretary of the Chinese Daoist Association knew nothing about religion but was made by the CCP first into a Catholic and then a Daoist leader. […] Li was a crucial figure in the history of government-controlled Daoism. His life and career shed a light on how the CCP selects the personnel it calls to lead the country’s religious organisations.

There can be no doubt about the subservience of state religious departments to the Party. Normally I would give short shrift to such high-ranking apparatchiks; while CCP religious policy is a perfectly valid research topic, it may obscure grassroots practice. Since Li Wencheng’s life makes an intriguing contrast with those of my Daoist masters in the county, here I will intersperse his story with that of the Li family Daoists on the eve of Liberation, under Maoism, and since the 1980s’ reforms (again, covered in my book and film); as well as with that of the eminent Miao Jiang. Despite my own aversion to officialdom, my interpretation will be rather less polemical than that of Bitter Winter.

* * *

With my field experience in Gaoluo, I was keen to document the early years of revolution on the plain just south of Yanggao county-town (for the disparity between my fieldwork methods in the two sites, see here). But I never found any “old revolutionaries” there who could describe the period in detail.

One could hardly expect upright cadres like Li Wencheng to volunteer frank reminiscences of the events surrounding the trauma of land reform. But his account makes a rather more personal supplement to that of the 1993 Yanggao county gazetteer. [1]

Some sites in the partial overlap between Li Wencheng’s war years and
(in red) household Daoist bases. Cf. map here.

Li WenchengLi Wencheng in 2021. Cool trousers, eh. Source: Weibo.

Li Wencheng was born in Gucheng village in 1927, the year after the great Li Qing. From July 1945, just before the surrender of the Japanese invaders, he “engaged in revolutionary activities” further south in Yanggao,  joining the motley armed militia of 2nd district, a mere couple of dozen men. The militia was soon disbanded, whereupon he was transferred to the county lianshe 联社 association (forerunner of the gongxiaoshe Supply and Marketing Cooperatives). He gained admission to the CCP in March 1946.

Ritual life in Yanggao had persisted even under Japanese occupation. A 1942 stele commemorating the Zhouguantun temple fair lists the names of five Daoists from the Li family, who dutifully “offered the scriptures”—including Li Qing, then 17 sui. Li Qing recalled, “Our ritual business didn’t suffer during the occupation—the troops, themselves devout, even made donations when they came across us doing Thanking the Earth rituals! The local bandits didn’t interfere either”. He married in early 1945; his son Li Manshan was born in 1946. Li Qing’s Daoist father Li Peixing was shot dead accidentally by Nationalist troops in 1947.

After the Japanese surrender the Communists briefly took over Yanggao town, but by autumn 1946 Li Wencheng joined them in retreating south to the hills to engage in guerilla activity when Fu Zuoyi’s forces occupied the area. Fording the Sanggan river, they traversed the mountains of Guangling and Lingqiu counties to reach safety in Fanshi. Though travelling in only two trucks, they had to take cover from bombings by KMT planes. In Fanshi Li Wencheng took part in the initial stages of land reform, training for three months in Hunyuan county-town, base of the North Shanxi district committee.

All these counties also had active groups of household Daoists, intermittently serving the ritual needs of their local communities (Guangling, Hunyuan, as well as the household Buddhists of Fanshi).

Li Wencheng’s first mission to implement land reform was doomed to failure, sent all alone to a mountain village on the very southern border of Yanggao county. In December 1947, while still involved in guerilla warfare, he was deployed to Yanggao 1st district, serving as financial assistant (cailiang zhuli 财粮助理) for the imposition of land reform in Upper village (Shangbu 上堡) just north of Dongjingji.

The CCP county administration had moved south of the Sanggan river, but the district base was just south of Gucheng at Dongxiaocun, a large village of over a thousand households, its Upper Fort (where they set up) towering over the Lower Fort. But it was sandwiched nervously in between the KMT strongholds of East Jingji township, just 20 Chinese li (10 km) east, and Xubu to the west. The guerillas often had to flee from KMT cavalry raids.

Li Wencheng xiaodui

Shanxi-Chahar-Hebei frontier zone, Wutai county 1st district “small team” militia. Source.
Note the headscarves, archetypal emblem of the revolution.

By 1948 the Communists could look forward to victory, and the Party government was able to move back to Yanggao town. In the autumn, with Yanggao already “liberated”, Li Wencheng was sent to “support the front line” (zhiqian 支前), providing supplies for the troops around the Sanggan river, Fengzhen and Jining further north, and Zhangjiakou.

LPS and wife

Li Peisen and his wife Yang Qinghua, late 1940s?

In 1947 in Upper Liangyuan, household Daoist Li Peisen, former village chief, perhaps realising that land reform was imminent, quietly moved his family to his wife’s natal village of Yang Pagoda in the hills just south, taking his sets of ritual instruments and costumes, as well as two trunks full of scriptures handed down in his branch of the lineage. People from “black” families tended to encounter less scrutiny outside their home village. The family of Li Peisen’s wife were well-off and well connected; both he and his wife are remembered as highly intelligent. Their move was clearly an astute way of sidestepping any investigations into his background—his economic standing, and his connections with the vilified Japanese and Nationalists. Yang Pagoda might make a safer base from which to survey the lie of the land under the new regime—the potential sensitivity of practicing ritual would have been a minor issue.

Yang PagodaLi Peisen’s cave-dwelling in Yang Pagoda village.

Anyway, Li Peisen wasted no time in displaying his political correctness. Amazingly, he now gains an honorable mention in the county gazetteer. In March 1949—just as family members back in Upper Liangyuan were being stigmatised with a “rich peasant” label—he was the very first in the whole county to organise a mutual aid co-op, consisting of three households. Li Peisen’s move to this tranquil village, and his wife’s careful assertion of local status, were to play a major role in enabling the lineage to preserve its Daoist traditions.

Most of the household Daoist traditions in Yanggao county were based on the plain just south of the county-town; in the hills further south in the county, such groups seem to have been quite few even before the 1950s (I listed some groups in my book, p.63).

Under Maoism
From early 1949 Li Wencheng took up a series of administrative posts in Yanggao, then part of Chahar province, serving as secretary of county and regional propaganda departments. In 1950 he married Zeng Hua in Yanggao town. She came from East Chang’an bu village, just southwest of Upper Liangyuan. Their three children went on to find work further afield, whereas Li Wencheng’s four siblings continued tilling the land in Yanggao.

By 1952 Li was assistant editor of the financial team of the Chahar Daily, but later that year Chahar province was abolished and he was transferred to Beijing with over twenty other journalists, where they found themselves under-employed. With two others he was soon selected for the Religious Affairs Department of the Cultural and Educational Committee of the State Council. For six months in 1954 he was trained in “religious history, religious policies, and the domestic and foreign religious situation”. He then took part in a study class for Catholic clergy in the Church of the Saviour (Xishiku) in Beijing, along with over a hundred priests and bishops. As he recalled, they mainly studied patriotism and anti-imperialism, on the basis of articles opposing religion by Fang Zhimin 方志敏, a Red Army military commander executed by the KMT in 1935. Whatever the truth of the incident leading to Fang’s execution, [2] this hardly made a promising introduction to the subject. Li Wencheng now worked loyally for the Chinese Patriotic Catholic Association and the Religious Affairs Bureau. Bitter Winter:

By his own admission, he was a Marxist who knew precious nothing (sic) about religion.

But in contrast to all the detail on the War of Liberation, the interview has a typically glaring lacuna between 1954 and 1984. Through successive political campaigns, even Party loyalists had to be very cautious; serving as a cadre was an unenviable task that could easily lead to labour camp, even before the violence of the Cultural Revolution. The interview doesn’t broach Li Wencheng’s duties in monitoring Catholicism through the 1950s and early 60s—a stressful period. After the arrest and imprisonment in 1955 of Bishop Gong Pinmei along with several hundred priests and Church leaders, the official Chinese Catholic Patriotic Association was founded in 1957, marking a schism with the Vatican, but underground house-churches continued to function. Nor does the article mention Li Wencheng’s experiences during the Cultural Revolution. We may never learn the story of how he weathered the period.

church

 The Catholic church, Gaoluo (just south of Beijing)—built in 1931, destroyed in 1966.
The village’s Catholic families maintained their faith through the decades of Maoism,
reviving since the 1980s but still resistant to the “Patriotic Church”.

Back in rural Yanggao, Miao Jiang (b.1953) came from a devout Buddhist family in West Yaoquan village, somehow maintaining his faith through campaigns, having his head shaved in Datong to become a monk at the extraordinary time of 1968.

While the Li family Daoists kept performing after Liberation, encroaching collectivisation led to ever more desperate poverty, and by 1958 Li Qing was happy to take a state job in the North Shanxi Arts Work Troupe based in Datong city, even though their tours of the countryside were tough. He returned home when the troupe was cut back in 1962, after the worst of the famine. Despite a brief revival, Daoist ritual was silenced by 1964, and through the Cultural Revolution the Li family lived in fear, vulnerable by virtue of their “black” class background.

Minghui

Even less palatable for a Party stalwart like Li Wencheng would be sectarians and spirit mediums, many of whom somehow maintained clandestine activity under Maoism despite campaigns to suppress them soon after Liberation. In Yanggao, village adherents of the Bright Association (Minghui) and Yellow Association (Huanghui) recited lengthy “precious scrolls” as part of rituals for their own followers; the leader of one such group even transmitted the liturgy to his teenage son early in the Cultural Revolution. Since the death of Mao and the downfall of the Gang of Four, both sectarians and mediums revived, broadly tolerated by the local authorities.

Since the reforms

Miao Jiang x

Miao Jiang has been based at the Buddhist mountain complex of Wutaishan since 1980, as the mountain opened up to a massive reinvigoration of “incense fire”after the depression of the Maoist era. His devotion to restoring temple life there was soon recognised as he was fêted with official titles.

But in utter contrast to Li Wencheng, he has remained aloof from worldly affairs: his allegiance has always been to the dharma, and any organisational responsibilities grew out of his faith. Eschewing the lifestyle of official banquets, he adheres to a simple Buddhist diet, while sponsoring charitable and relief projects. Still, religion needs organisers…

The Li family Daoists had begun to resume activity from around 1980 (see Testing the waters, and Recopying ritual manuals), and were soon busy “responding for household rituals”. In autumn that year, Li Manshan took his first train trip to Beijing, with his cousin Li Xishan. They wanted to buy a sewing machine, not available (or at least substandard) in Datong, but in the end they couldn’t find a good one in Beijing either—so Li Manshan bought a big bag of socks instead.

As Li Wencheng recalled, as he approached his 60th birthday he was expected to retire. But somehow in 1986 he was chosen to serve as General Secretary of the Chinese Taoist Association. Though at first reluctant, being in good health he was happy to keep working. He stayed in the post for thirteen years until retiring in 1999.

Daoxie 1986

Fourth conference of the Chinese Daoist Association, 1986. Source.

Through his early years around Yanggao, first as guerilla, then as cadre, Li Wencheng can hardly have had any contact with folk ritual activity—and like his comrades, had he chanced upon it, he would surely have disdained it. Once on the Party ladder in Beijing the only experience he gained of religion was overseeing CCP policy towards Catholicism. While many devout and prestigious Daoist and Buddhist clerics were recruited to official religious bodies after Liberation, they were often “mobilised” (coerced) as figureheads.

Li Wencheng now found himself responsible for state policy towards Daoism at a time of a spectacular religious revival (for a fine study of the grassroots revival in Fujian, click here). He helped found the Chinese Daoist Academy and the magazine Zhongguo Daojiao, mouthpiece of Party policy; he re-established the system of ordination in Beijing and elsewhere, working with Wang Lixian 王理仙, respected abbot of the Eight Immortals temple in Xi’an. But he doesn’t mention the great Min Zhiting, who was also summoned to the White Cloud Temple around this time (cf. Zhang Minggui, abbot of the White Cloud Temple in Shaanbei, whose efforts to maintain worship on the mountain ever since the 1940s have always involved negotiating local politics).

In 1990 Li Qing led a group of his Daoist colleagues to perform at a major festival of Buddhist and Daoist music in Beijing. The Li family Daoists were lodged in the White Cloud Temple along with several other Daoist groups from elsewhere in China invited for the festival, doing five performances (not rituals) for private invited audiences over fifteen days in the temple and at the Heavenly Altar. Some apparatchiks were opposed to the event, but influential senior ideologues like He Jingzhi and Zhao Puchu supported it. In the end, the Religious Affairs Bureau and the Chinese Daoist Association must have been among the official bodies sponsoring the festival. I wonder if Li Wencheng attended—would he have been curious to encounter Daoists from his old home of Yanggao, or would he have distanced himself from such household ritual specialists?

And I wonder how often he returned to Yanggao to visit his siblings and their children. For funerals there since the late 80s, it has again become routine to hire Daoists to perform rituals—events that Li Wencheng’s relatives would doubtless often attend.

1993 jiaoGreat Open-air Offering ritual, White Cloud Temple, Beijing 1993.
Source: Weibo.

Another comment in the Bitter Winter article that I find rather too stark: perhaps not exactly that Li Wencheng “used Daoism to spread CCP propaganda in Hong Kong and Taiwan”, rather that Daoism could indeed make a useful tool to further diplomatic rapprochement. To this end a significant step in 1993 was his organising of a Great Open-air Offering (Luotian dajiao 罗天大醮) ritual at the White Cloud Temple, bringing together Daoist priests from temples around the PRC—with representatives from Hong Kong and Taiwan. Clips can be found online, such as this by the Daoists of the Xuanmiao guan temple in Suzhou.

Li Wencheng 2015

In 2015, for the 70th anniversary of victory in the War of Resistance against Japan,
Huang Xinyang (left), Deputy Chief of the Chinese Daoist Association,
presented Li Wencheng with a commemorative medal. Source.

Shi Shengbao 2018

2018: Li Manshan with Shi Shengbao (b.1948), ritual director of Yangguantun village, Yanggao.

* * *

Li Wencheng’s responsibility in later life for marshalling CCP policy towards Daoism was quite serendipitous. Bitter winter again:

What is most interesting in this biography is that Li changed religions as others change shirts. He was first non-religious, then Catholic, then Daoist.

Interesting indeed, but the comment is somewhat misleading. Li Wencheng was surely never “religious”, and his task of monitoring Catholicism and then Daoism didn’t imply “belief”, any more than it does for ethnographers of religion; no conversion was involved (and anyway, Buddhist and Daoist deities can happily coexist in folk pantheons!). The article goes on:

This did not really matter since his job was to serve the CCP, not religion. He was sent to different religious organisations to “implement the Party’s religious work policies”. He was a typical example of the bureaucrats the CCP selects for the five authorised religions. Many of them do not believe in God or religion. They are there just to control religion on behalf of the Party.

Most appropriately, the official press release celebrated Li as somebody whose life was “an unremitting struggle for the cause of Communism”—not of Daoism or any other religion.

The Party’s efforts to control temple clerics were extensive, and effective; Buddhism was always based mainly in temples, and temple-dwelling Daoist priests too could be efficiently overseen too. But the life of Daoism depended less on temples, and the countless household Daoists throughout the countryside were harder to control—even if Li Wencheng was doubtless involved in the successive efforts to register them.

* * *

One could find similar grassroots religious activity in the home county of any secular Party apparatchik (all the way up to Chairman Mao and his Hunan origins)—I’ve just given these vignettes from my experience of Yanggao. The Li family Daoists remain busy performing rituals in the nearby villages; Miao Jiang, a devout Buddhist since his early youth, found himself becoming a revered master on Wutaishan; Li Wencheng, who never had any sympathy with religion, somehow ended up overseeing major Daoist projects from his Beijing office.

Conversely, Party overseers often lament cadres’ persistent adherence to “feudal superstition”. At the local level, it is perfectly routine for village cadres to consult household Daoists (like Li Manshan) or spirit mediums to “determine the date” or identify an auspicious site; some such cadres may even be ritual specialists themselves. But cadres higher up the Party ladder too may consult  “superstitious practitioners” (e.g. here).

Even among those who were earmarked to represent Party religious policy, we find a range of ideology. Some, like Li Wencheng, were entirely secular in their thinking, their sole mission to serve the Party. Temple priests invariably have to pay lip service to the CCP cause; like the broader population, they are used to compartmentalising public and private spheres. Back in the countryside, “faith” may play a certain role for some household Daoists (such as Jiao Lizhong in Hunyuan) but for others it is a minor issue, compared to the mundane exigency of feeding their families while serving the local community. 

As evoked movingly in Tian Zhuangzhuang’s 1993 film The blue kite, everyone was trying to survive, subject to the whims of Party campaigns. Some were able to escape the poverty of rural life by finding an “iron food-bowl” with a Party career, while others remained tied to the land and its rituals. Both were common trajectories. And both the CCP and religious observance, in all their diverse manifestations, are part of the fabric of life in China.


[1] Though I haven’t yet found Li Wencheng’s name in the county gazetteer, it’s a useful source for both the civil war and “revolutionary heroes”, with considerable detail on the period (mainly on pp.15–20 and 50–54), which I haven’t attempted to collate with Li’s own account.

[2] Bitter Winter notes that charges against Fang Zhimin had included the beheading of an American Christian missionary and his wife in 1934—although doubts have been raised whether Fang was directly involved (e.g. here, and here), and even whether the couple’s abduction and execution was among the KMT’s charges against him.

Bach from Japan

with a not entirely meretricious fantasy on world-music Passions…

Suzuki Prom 2©BBC/Mark Allan. Source: Artsdesk review.

This year is the 300th anniversary of the Leipzig premiere of Bach’s John Passion. * After John Butt’s performance at the 2017 Proms (more links to the Passions here), I’ve just returned to hear it with Masaaki Suzuki (b.1954) directing the Bach Collegium Japan, which he has led since 1990 (listen here—with an instructive interval talk thankfully replacing the interminable original sermon). Whereas performers these days know the work intimately, it must have been a serious challenge for Bach’s Leipzig forces (cf. this post); even to today’s listener it still sounds startingly modern—imagine how it must have sounded to the 1724 congregation!

Having studied with Ton Koopman in Amsterdam, Suzuki became a leading advocate for the early music movement in Japan. Joining several other complete recordings of the Bach cantatas (links here), his cycle with BCJ was completed in 2014. It’s most remiss of me not to have kept up, missing Suzuki’s previous visits to London, both with his own ensemble and as guest conductor of the Age of Enlightenment. Far from inscrutable, his style is dramatic, expressive, rather evoking that of Koopman, or perhaps Richard Egarr—both of whom direct from the keyboard, whereas Suzuki has gravitated to conducting from the podium, leaving the harpischord and organ to dedicated musicians (given which, he might go further and cede close control over the recitatives?).

Munch Golgotha

Bold idea of the programme booklet: Edvard Munch’s Golgotha (1900),
in which he represented himself as the Christ figure,
with the foreground figures casted as the seven deadly sins. Source: wiki.

Benjamin Bruns was the Evangelist to Christian Immler’s imposing Jesus. The choir sounded fabulous, with twenty singers in an arc, including soloists who emerged for the arias. Carolyn Sampson (whom I used to accompany on Bach tours with The Sixteen) was exquisite in Zerfließe, mein Herze, as was Alexander Chance in the counter-tenor arias—succeeding his father Michael, whose singing, such as Erbarme dich, enriched our own performances with John Eliot Gardiner; excellent too were Yusuke Watanabe and Shimon Yoshida. Following HIP style, Suzuki favours small instrumental forces—wackily augmented by a towering contrabassoon (as in Bach’s fourth version); oboes and flutes, seated front stage on the right, were well highlighted.

Suzuki PromBenjamin Bruns, Christian Immler, Masaaki Suzuki.
©BBC/Mark Allan. Source: Bachtrack review (with the fine heading “Promenading on Golgotha”).

Suzuki and BCJ  have long experience of performing and recording Bach (watch a John Passion from 2000 here); their Proms visit this week was part of a European tour—it’s a highly seasoned, accomplished ensemble.

Nothing can compare to the awe of being plunged into the opening chorus, with throbbing, turbulent strings overlaid by anguished suspensions on oboes.

John MS

Returning to the Bach Passions regularly over a lifetime (referring, perhaps, to Gardiner’s Music in the Castle of Heaven) is an essential part of our self-cultivation.

* * *

In This Day and Age™ there’s nothing remarkable about a Japanese ensemble excelling in Bach; even if we can resist projecting orientalist fantasies (with Suzuki as Zen Sage-Mystic), their taste for Historically Informed Performance somehow seems quite appropriate. Perhaps no-one else will even think of gagaku, another genre that was imported, from Tang China—and then radically slowed down until it was no longer recognisable.

I’ve long had a fantasy of staging a world-music version of the Passions (cf. Bach, um, marches towards the world), held at a cosmic site like the Grand Canyon (cf. Messiaen). Amidst sand mandalas, the Dalai Lama with his own halo of deep-chanting Tibetan monks accompanied by their cymbals, drums, and booming long trumpets, as well as ethereal ondes martenot or theremin… Mark Padmore sharing the role of Evangelist with a searing cante jondo singer… Uyghur bowed satar and Persian ney flute as obbligato instruments for the arias, a gamelan to embellish the choruses, and the catharsis of an Alevi sema… One day I’ll do a detailed programme, unfettered by funding or logistics.

A slightly less daunting project would be a Japanese staging of the Passions based on Noh drama. As continuo to the pilgrim/Evangelist visiting the site of an ancient mystery, the dialogue of the two drums, their eery kakegoe cries summoning the spiritual world… the Noh chorus both evoking the crowd and offering redemption… Augmented by the timbre of gagaku, magically transforming the wind music of the choruses and arias (Bach’s own timbre for Zerfließe is already not so distant—and with an archlute joining the continuo, the affinity would be even closer). While some Westerners have trained intensively in Noh, it’s more common, and must be easier, for Japanese musicians to learn to perform Bach (cf. Jazz in post-war Japan)—though it might be hard to find musicians who would be up to (or up for) the task.

At the heart of both these stagings will be Bach’s original music, devotedly illuminated by compatible traditions from around the world.

See also under my roundup of posts on Japanese culture—including some spellbinding Bach on a mile-long xylophone in an empty forest!


* After all this time, I still have reservations about my choice to imitate Bach’s original omission of the “St” before John Passion (Passio secundum Joannem) and Matthew Passion (Matthäus-Passion, or even Passio Domini nostri J.C. secundum Evangelistam Matthæum), with its apparent breezy familiarity—”The name’s Matthew, but call me Matt”). But Was ich geschrieben habe, das habe ich geschrieben, as Pilate observed pithily (a foretaste of “It’s what it is”, suggesting that Robert De Niro might be well cast for the role, albeit too late to join John Wayne as centurion for the crucifixion).

The Ghost Festival

SGL guiwangGhost King, South Gaoluo.

Today is the Ghost Festival in China, so I’ve been reflecting on calendrical rituals (further to my In search of the folk Daoists of north China, pp.7–8). Usually I draw attention to ritual days, but this seems to be one that I’m inclined to downplay.

XJY yankou 2003Yankou at Xujiayuan temple fair, north Shanxi 2003.

As one of the Three Primes (sanyuan 三元) over the annual calendar, the Ghost Festival (Guijie 鬼节, formally Yulanpen jie 盂兰盆节) on 7th moon 15th seems like a major event (see e.g. Stephen Teiser, The Ghost Festival in medieval China). On this evening, groups of temple clerics (both Daoist and Buddhist) still hold Flaming Mouth rituals (yankou, shishi) to exorcise the community, although they were surely performed more commonly before the pervasive impoverishment of temple life over the 20th century.

LQ yankou 1982Li Qing’s 1982 copy of the Li family Daoists’ shishi ritual manual.

There’s an extensive Chinese literature on this complex, lengthy Tantric ritual, but the Ghost Festival is far from its only context—besides other temple fairs over the annual cycle, it is (or was) routinely performed for funerals (see many posts under Local ritual).

Notwithstanding the importance of the Ghost King (Guiwang) and the Ten Kings of the Underworld (Shidian Yanjun) in village pantheons, in my experience of rural north China, 7th moon 15th is not (or is no longer?) a major day for rituals with liturgists presiding. Perhaps its liturgical importance varies by region; I’m not sure it depends on the community still having a viable temple, since ritual buildings can be re-activated for important ritual purposes. In my DVD Doing Things on ritual life in north Shanxi, §B5 has brief excerpts from a yankou performed by Buddhist monks for the “main day” of their village temple fair—which falls on 7th moon 3rd, not 15th.

Worshipping the ancestors, Xinzhou 7th moon 15th 1992.

What does endure is the custom of domestic offerings, burning paper at the ancestral graves, as we found in 1992 in Xinzhou on our trip through north Shanxi. Neither there nor in Yanggao is it a day to summon household Daoists to perform rituals.

zhaobeikou-lakeThe Zhaobeikou ritual association leads Releasing Lanterns ritual on Baiyangdian lake,
7th moon 15th, 1993.

For village associations on the Hebei plain, 7th moon 15th may have become less of a focus for communal observance over the 20th century. But the aquatic setting around the Baiyangdian lake (click here) prompts village ritual associations there to go on procession to “Release River [or Lotus?] Lanterns” (fang hedeng 放河/荷燈). Similar rituals are held in nearby counties such as Langfang. in Bazhou, the Zhangzhuang association, with its active group of liturgists, was one of few still performing yankou on the 15th. The association of Lesser Huangzhuang, Jinghai, performed Releasing God Lanterns (fang shendeng) on 1st moon 15th and Releasing Ghost Lanterns (fang guideng) on 7th moon 15th. Around Houshan, the major days to worship the goddess Houtu are 3rd moon 1st and 15th, but 7th moon 1st and 15th also attract many pilgrims.

So we may come across a range of exorcistic behaviour on 7th moon 15th: from burning paper at the ancestral graves, to processions Relasing the Lanterns, to full-scale yankou rituals.

As to the other days of the Three Primes, 1st moon 15th is the day around which the main annual rituals revolve (whereas only domestic offerings are made on New Year’s Day—e.g. Gaoluo); the ritual segments performed are exorcistic, like those for 7th moon 15th. But (again for north China) I haven’t heard of major communal observances for 10th moon 15th—leads welcome…

Anyway, the ritual days of the standard national calendar may arouse false hopes, requiring verification on the ground; once one gets down to the grassroots, other dates may require important calendrical rituals for local deities. In south China, even the major liturgical days of the 1st moon vary by locale. This is a significant fieldwork lesson: to see beneath the tip of the iceberg of temple practice and prescriptive history to digest folk observances at the grassroots (cf. Debunking “living fossils”).

Cf. Calendrical rituals, and for Bach and Saxony, The ritual calendar: cycles, seasons.

China not forgotten!

Over a summer hardly bathed in sunshine, but enlivened by football, tennis, Istanbul, and Proms, it may look as if I’m somewhat neglecting China. Still, just since May, posts include

China even plays a cameo role in

Actually, that should be enough to keep you busy (not to mention all the fieldnotes under Local ritual)—indeed, a little break might be welcome… I’m working on several new essays for my site, but in the interim I regularly post on Twitter—other recent China retweets including

Coming up soon is a reminder of a crucial theme, still little addressed:

It’s always worth reminding people of my work on the Li family Daoists:

And we should bear in mind the alternative perspectives of Tibetan, Uyghur, and Taiwanese cultures.

There’s a certain random quality to the topics of some of these retweets, but as with my original articles, I like to keep people guessing, and to remind readers of posts which may have escaped attention, or seem particularly apposite. So you may care to check my Twitter feed, or even “follow” me there…

Football in Stalinist Albania

with asides on religion and the alliance with China

Hermit kingdom cover

In a curious spinoff from Euro 24,  I came across the intriguing

  • Phil Harrison, Inside the hermit kingdom: football stories from Stalinist Albania (2024) (extract here).

I trust you understand why I just had to read it. The modern history of Albania holds a grim fascination for outsiders. For a book clearly aimed at a popular market, Harrison’s obsession with football through the period seems to me on a par with that of scholars who document early Daoist ritual—or does his dogged optimism resemble mine in supposing I can make the modern travails of household Daoists palatable?!

Inside the hermit kingdom was “written by accident”, with major input from Irvin, an Albanian expat whose own story remains opaque. * While Harrison is aware of the dangers of portraits of Albania that “instil a sense of Western, capitalist superiority”, he inevitably paints a bleak picture, sometimes reminiscent of the spoof travel guide Molvania. The account is punctuated with “Iconic games” and vignettes on the careers of some of the major stars. There may not be such a thing as a casual reader here, but fair-weather fans may find it somewhat excessive to plough through some of the detailed reports of the most obscure matches ever

The book opens in 1905 with the arrival of Christian missionaries in the “tribal backwaters” of mountainous Shkodër, beset by banditry, a Maltese priest founding the first club in 1912. The craze soon spread (cf. Futbol in Turkey, then and now).

Harrison soon plunges us into the vernacular of Albanian football terminology: positions on the pitch, organisations, and slang (humbje hapësire “a waste of space”).

He describes early internationals and the Zog-Mussolini axis. In April 1939 Mussolini’s forces invaded Albania, forcing King Zog into exile. We learn the stoies of two outstanding players among the Albanians recruited to Serie A, and of the Balkan Cup, held from 1946.

Dinamo

Clubs were now controlled by the army and police. Dinamo Tirana was founded in 1950—its stadium (above, via Fussball Geekz) built in 1956 by political prisoners supervised by armed militia, with many of the conscripts dying from exhaustion and injuries. In 1958 Partizani took part in the Spartakiad tournament in the GDR between army-affiliated clubs from the communist countries of the world.

Albania China poster

“Long live the eternal and unbreakable friendship in battle between
the peoples of China and Albania!” Source.

After the death of Stalin in 1953 Enver Hoxha’s relationship with the Soviet Union eroded, deteriorating further in 1956, until the rupture of 1961 which led to Albania’s solitary alliance with Maoist China. In 1957, the wave of Albanianization was evident in the political renaming of many football clubs. Harrison shows how the “golden goal” dates back to 1961 Albania.

North Xinzhuang 1959

Quite the most remarkable image I know:
former Buddhist monk with village disciples, suburban Beijing 1959.

With religion suppressed under Hoxha, it was replaced by the ritual and passion of Sunday-afternoon football, a “communal protest against oppression and servility”. Asking “How did football make Albanians feel?”, Harrison describes wages, bicycles, cigarettes (with an aside on their manufacture), alcohol, transistor radios, and racing pigeons. In Tirana from the 1960s, Gimi’s tiny kiosk was a hub of activity, not only selling newspapers and magazines but serving as ticket office for the Albanian Football Federation. At the stadium one stand, the Tribuna, was reserved for army, police, and Party members. The only refreshments available were fara grilled sunflower seeds, wrapped in paper cones sold from tezga usherette trays. For away matches, with train links rudimentary, diehard supporters would undertake a three- or four-hour bike ride, or hitch a lift on an army truck. Attempting access to foreign matches via satellite TV was fraught with danger.

Political anxieties were pervasive, with society surveilled by the Sigurimi secret police (eight of whose nine directors were themselves imprisoned and executed between 1943 and 1991), and the spectre of labour camps. In 1967 star player Skënder Halili was caught selling two wristwatches and sentenced to hard labour in the mines of Bulqiza, eventually cause of his death in 1982—attendance at his funeral marking a small-scale protest against the regime.

“Truth over religion”, screenshots.

In 1966–67, just as the Summer of Love was under way in the West, Hoxha, emulating Mao’s Cultural Revolution, clamped down still more harshly on religion and Western influence. He sponsored the making of the 1967 propaganda film E vërteta mbi fenë [Truth over religion] (do watch here). Among the casualties were Catholic priests, imams, and leaders of the Bektashi order (cf. Turkey; for another niche topic, see Shamans in the two Koreas). This was among several waves of violent religious persecution throughout the Soviet bloc since the 1920s. I’m keen to learn more of the underground maintenance of religious traditions, one of my main themes for China; in Skopje, for instance, just northeast from Albania, a remarkable 1951 film shows self-mortification rituals of the Rufai order.

1967 Albania match
Source.

Back with the football, the 1966–67 “Championship of Coals” was subject to murky political interference. And in typical detail, Harrison describes the plucky goalless draw with West Germany in 1967 (above), watched from the Tribuna by Party stalwarts and Chinese dignitaries. I wonder about the lives of those visiting diplomats, who had somehow survived the Anti-Rightist purge, the Great Leap Backward and famine—now to find themselves exchanging cautious platitudes at a football match in a remote third-world country just as chaotic violence was being unleashed back home at the outbreak of the Cultural Revolution.

Enver

As purges continued, Albania became even more isolated. Harrison now devotes a substantial chapter to Fatmir Shima (with the catchy subtitle “the man from Xhomlliku”), father of his guide Irvin, who played in a lower division from 1969 to 1975 (cf. ordinary tennis players, Daoists, musicians, and so on), a temporary diversion from his career in agronomy. The chapter ends with another iconic game, between Tirona and Ajax, with predictable cultural clashes. Meanwhile Italian clubs were still scouting for Albanian players.

Under Hoxha the Gheg city of Shkodër was penalised, but its Vllaznia team rose to win the Kampionati Kombetar league in 1971–72, first of several successes over the following years—as the culture of Tirana at last no longer seemed so impregnable, people began to sense new possibilities.

Harrison continues to excel in arcane nerdiness with his account of the Dinamo club, which enjoyed success through the 1950s but then languished until the 1970s. Again he ends with an iconic game, between Partizani and Celtic for the 1979 European Cup—hair once again making a potential flashpoint. The game was “a sell-out, with ticket prices ranging from 7p to 21p”.

One of the great ironies of the piece is that Celtic’s players—upon their visit to Tirana during the dire, ramshackle days of the late 1970s—were privy to observing a failing city that was grim, penurious, and devoid of hope; a place of limited prospects.

In an act verging on satire, Vata—the first Albanian footballer to ever play in Scotland—made the reverse journey to his Celt predecessors 13 years later, keen to see what the world outside of Albanian borders had to offer. He now continues, by choice, to live in Hamilton.

By the 1970s, the Sino-Albanian collaboration suffered from Hoxha’s disillusion with China’s new rapprochement with the USA. Entirely isolated from 1978 once Chinese funding was discontinued, Albania was in an even more desperate plight. As audiences for the major games declined, people turned to futboll lagjesh “neighbourhood football”, a version of Italian calcetto. Harrison praises the creative improvisation of this five-a-side street style, “an inclusive, democratic idea set against an autocratic backdrop; an arcane act of defiance hiding within plain sight”, with vivid vignettes of the architecture of suburban east Tirana. But “with increased popularity came increased scrutiny”. “Enacting a class war”, a team from privileged Blloku ended up playing a rancorous game against a local Roma team, ending in a brawl and the sending of the Roma to labour camp.

By the early 80s, the regime was on its knees. As Hoxha lay dying, links were being forged with Italy, Greece, and Turkey. Within Albania, funding for football dwindled further. But apart from the long dominance of Tirana and Shkodër, KS Labinoti (in Elbasan county in central Albania) emerged as a contender. And the national team was making progress, at first through Shyqyri Rreli’s leadership of the under-21 team, and then in the 1984 World Cup qualifiers—with another blow-by-blow account of Albania’s magnificent 2-0 win over Belgium in Tirana. Albania narrowly failed to qualify for the Mexico 1986 World Cup, but the seed had been sown.

No nation has endured a more ill-tempered relationship with Europe’s footballing community than Albania. […] The Party remained unswervingly peevish in its interactions with the outside world, and this innate narrow-mindedness transposed itself on to sport.

Harrison documents the troubled domestic league, and encounters between Albanian and foreign clubs, over the whole period from the death throes of the regime from the late 1980s to the final collapse in 1992—whereupon Albania entered a period of anarchy and crushed dreams, prompting a mass exodus. 

But somehow in football, clubs “trundled on”. The final chapter, “The other side of the abyss”, describes how clubs reverted to pre-Hoxha names, resentment emerged in on-pitch petulance and crowd violence, corporate sponsorship gave rise to a new kind of corruption, and criminal gangs flourished. While the domestic game has suffered, since 2014 the national side has been reborn—with the great majority of the squad playing outside Albania.

The new, great Albanian players ply their trade elsewhere and are rewarded with huge remuneration and lavish lifestyles, connected to their native people only by ethnicity, not locality or reality.

Memory remains strong:

The only thing people who lived through Albanian Stalinism still celebrate, or seem to agree on, is  the football [… —] a football that unified fans and provided a balm during fifty years of horrific suffering.

One has to applaud Harrison’s boundless enthusiasm for such a niche project. Of course, football was not the only source of communal celebration; musical gatherings were an important part of social life at the domestic level (see under Musical cultures of east Europe, and Bernard Lortat-Jacob at 80). For other Albanian icons, see the unlikely bedfellows of Norman Wisdom and Mother Teresa. Note also posts under Life behind the Iron Curtain; more on football under A sporting medley: ritual and gender.


* With more detail on football than on social history, Harrison’s scant citations include Margo Rejmer’s collection Mud sweeter than honey: voices of Communist Albania, the memoir Erla Marinaku, “A social history of Socialist Albania, 1975-1991”, and the title Albania—who cares? is suggestive. He would doubtless like to add Lea Ypi’s perceptive 2021 memoir Free: coming of age at the end of history, which I reviewed here

Euro 24, the semi-finals: yet another playlist!

In celebration of folk cultures around Europe

Compiled without regard to expense or the feelings of the public

Flann O’Brien

On a roll after my Euro 24 folk playlists for the 24 teams and then for the quarter-finals, here’s another niche selection of funky tracks for the semi-finals! Having covered some bagpipe traditions, I might have gone on to highlight shawms (suitably loud, and widespread), but this playlist (partly derived from previous posts, with some new material) is based on singing and fiddling.

Whatever your feelings about football, just in case you suppose this exercise is a frivolous diversion from weightier matters, it makes an instructive and inspiring reminder of the diversity of European cultures!

* * *

Screenshot

For Spain, for all its wealth of regional styles (e.g. Songs of Valencia and Festive soundscapes of the Rioja), one can never have enough flamenco (and the documentary series Rito y geografïa del cante is not to be missed!)—here are a few classics from my series.

* * *

PraviAs to France, even I might hesitate to try out Boulez or Messiaen on a football crowd; Un homme et une femme and Comment te dire adieu are tempting, but here I suggest

If it’s folk traditions you’re after (Yeah right—Ed.), then how about

  • the world of fiddlers around the Dauphiné in the southeastern Hautes-Alpes, accomoanying the rigodon dance—here’s the CD France “Rigodon sauvage”—Alpes du Sud: Dauphiné (Ocora, 1995): *

* * *

England penalties

England: more singing with fiddles (from this post on the doyens of the English folk scene)—

  • here’s Eliza Carthy and the Ratcatchers, with John Boden and John Spiers of Bellowhead:

Barney Ronay:

Saka is a player you just love to see have these moments, to smile, to remind you […] that this is still at bottom a matter of play, joy, fun, and invention.

* * *

Turkey fans

Now don’t get me wrong, I love the Dutch; I should really make an effort with their folk cultures, although recordings (mainly from Friesland) such as Jaap Kunst‘s 1956 LP seem less than enthralling (playlist here, or this clip from a 1963 disc, with images). I’m all for doorstep anthropology, but one can imagine Kunst finding Indonesia a more stimulating fieldsite, and I can see why Antoinet Schimmelpennick set off for China. Still, personal taste isn’t really the brief of the ethnographer.

All the same, in my self-appointed capacity as referee I’m going to overrule the Netherlands’ second-half goals and pretend Turkey won—because they have been the stars of the tournament, and it feels like they’ve been playing at home. So first,

Another reason for me to bend the rules is because Turkey has some amazing music. Whereas modern France is multicultural, my other choice for Turkey reflects a multicultural past:

Well I guess that’s about it for tonght folks! Now read on for those Alpine fiddlers…


* Archive recordings are heard on the 1978 LP Violoneux et chanteurs traditionnels du Dauphiné—cf. Le violon traditionel en France (Silex, 1994, with notes by Patrick Mazellier).

Violon traditionel CD cover

The tracks from 1939, on the eve of war, were recorded by Roger Dévigne (1885–1965):

The 26th—telegram from the Vice-Chancellor: “Come back immediately”. Mr Jouan Nicola arrived at the same time as the telegram: “I’m here to help you dismantle your recording equipment” he told me. From outside came the continuous rumble of coaches leaving packed with soldiers called up. Off to the station. Long queues of soldiers called up from the mountains, each with his cardboard suitcase…

Additional items were recorded from 1975 to 1977, featuring the veteran fiddlers Emile “Milou” Escalle (1900–1987), Augustin Istier (1906–89), and Camille Roussin-Bouchard (1909–90).

The more fanatical football supporter may wish to delve into the fine site violoneux.fr

violon map

Detail of map showing distribution of fiddle traditions in France!

For a less voluminous introduction to regional styles, click here—citing an 1821 decree:

It is forbidden to all fiddlers or other instruments forming any gathering around [feasts], they could become responsible for the evil that would result and need to be arrested by order of the Mayor.

Such sources reflect on the long decline of the traditional context of social dance.

Rigodon 1908Not so much an impromptu pre-match party as
a rigodon at Saint-Pierre-de-Méarotz, Isère, July 1908. Source
(cf. the excellent title Le rigodon n’est pas un fromage!).

A bijou mosque in Kuzguncuk

I’ve written several posts on the picturesque Istanbul mahalle of Kuzguncuk on the Asian shore of the Bosphorus—notably on Nostalgia for cosmopolitanism, Epiphany, Greek liturgy, The 1955 riots, The kiosk in Turkey and Europe, Köçek in Kuzguncuk, and Blindman Ali.

Since at least the 19th century Kuzguncuk was mainly populated by Armenians, Jews, and Greeks. By 1933, sources suggest that the population was still 90% non-Muslim. As Amy Mills notes, the present mosque, opposite the iskele ferry and next to the 1835 Armenian church, was only built in 1952, “the first moment in the neighbourhood’s long history when there were enough Muslim Kuzguncuklus to necessitate a local, regular, community gathering space.” It is now blessed with the splendid imam Aydin Hoca (see under The call to prayer).

MinaretIt’s taken me all this time to visit the bijou rectangular wooden mosque further up the coast towards the bridge—just below the mansion of Sultan Abdülhamid’s cultured confidant Cemil Molla (1864–1941), who sometimes served as imam there, and just past the yalı waterside residence of Sare Hanım (1914–2000), aunt of left-wing poet Nâzım Hikmet (see here).

Built in 1860 by Üryanizade Ahmet Esat Efendi, the mosque was allegedly completed in forty days (see e.g. here). It has a wooden pulpit and preaching platform, and a modest wooden minaret with a single balcony; it has its own boathouse.

Left, 1946; right, 1973—among old and recent images here.

After restoration work started in 2013, the mosque was re-opened for worship in 2017, making a place of great tranquillity, and a reminder of a time when Muslims were a small minority in Kuzguncuk.

mosque nd

Undated.

Further up the coast in Kanlıca, in the square by the ferry, is the İskender Pasha Mosque, where we heard the noon ezan from a riverside café on my first visit in 2021. Not quite so miniature, but still on a human scale, it was built in 1559–60, designed by the great architect (and former Janissary) Mimar Sinan.

Kanlica

All this by way of reflecting on the art of the miniature—by contrast with the grandiose projects of the Ottoman sultans that I churlishly avoid. In rather the same way, in China I’ve never visited the Great Wall, but in the countryside humble little “public buildings” are decked out to become the heart of the ritual life of the community.

SSZ xihui 1996
3rd-moon festival for female deity Houtu, Shenshizhuang, 1996.

See also under West/Central Asia: a roundup.

Folk ritual of Tianjin, and its soundscapes

The Anthology provides another gateway

Like Beijing nearby, the municipality of Tianjin encompasses a large region, much of it still rural. On ritual and its soundscapes there, my previous articles include

So at last I’ve been trying to digest the relevant volumes on instrumental music of the great Anthology of folk music of the Chinese peoples:

  • Zhongguo minzu minjian qiyuequ jicheng, Tianjin juan 中国民间器乐曲集成, 天津卷 (2008) (2 vols; 1,475 pages),

which as ever contain substantial material on ritual traditions. To remind you of my introduction to a similar recent survey for Fujian province in southeast China,

Ritual pervades all genres of folk expressive culture: in the Anthology, it is a major theme of the volumes for folk-song, narrative-singing, opera, and dance. In the instrumental music volumes, even genres that lack explicit liturgical content are also invariably performed for ceremonial occasions—but a further reason to consult them is that the specific rubric of “religious music” has been consigned there. I’ve described the flaws of the Anthology project in my

  • “Reading between the lines: reflections on the massive Anthology of folk music of the Chinese peoples”, Ethnomusicology 47.3 (2003), pp.287–337.

Apart from the Anthology‘s valuable Monographs for opera and narrative-singing and brief textual introductions to genres, its volumes consist mainly of transcriptions, of limited value without available recordings. Conceptually its classifications are rudimentary, but it opens up a world of local cultures.

Tianjin map

It’s important to grasp the geography of the large regions covered by such surveys (cf. Layers of fieldwork). At the time of compilation the greater Tianjin municipality comprised four suburban areas (east, west, south, north), five counties (Wuqing, Jinghai, Ninghe, Baodi, * Jixian), and three districts (Tanggu, Hangu, Dagang), all of which had distinctive local traditions.

Useful as always are sketches of some leading groups (pp.1327–39) and brief biographies (pp.1340–56), containing promising leads to further ritual associations and sects.

Volume 1 is entirely devoted to “drumming and blowing” (guchui yue 鼓吹乐). Here the rubric of “Songs-for-winds associations” (chuige hui 吹歌会) is misleading (see under Ritual groups of Xushui), compounded by the sub-categories of leading instrument (guanzi, suona, sheng, dizi). While many musicians are versatile on wind instruments, this masks the important distinction between occupational shawm bands and devotional ritual associations led by guanzi. However, there is some valuable historical information bearing on the “classical” style of amateur ritual groups (often known as “music associations” yinyuehui) serving ritual, such as the Tongshanhui 同善会 of Huanghuadian in Wuqing county (p.1336; brief mention here, under “Further leads”). Such groups were to become my main focus (see Menu, under Hebei and Gaoluo).

Xuande naoboNao and bo cymbals of the Tianxing dharma-drumming association,
inscribed Xuande reign, 5th year (1429). Besides museums,
folk performing groups preserve important evidence for
the material culture of imperial China (see China’s hidden century).

Shawm bands always occupy a substantial part of the Anthology coverage. Here the summary introduces traditions for all the municipality’s regions, notably in the north around Baodi and Jixian (pp.36–8, 41–2; groups pp.1338–9, biographies p.1343–4, 1355).

Tianjin Dayue

The “great music” of Tianjin.

Still under the heading of “drumming and blowing”, a separate rubric introduces the imposing “great music” (dayue 大乐, though here I seem to recall it should be pronounced daiyue) of the Tianjin region. These shawm bands, derived from the Qing court (cf. longchui and Pingtan paizhi in Fujian), were transmitted among the folk through the Republican era until the 1950s, mainly in urban districts but also in the suburbs; but later they became largely obsolete, so the Anthology fieldwork was largely a “salvage” project.

The impressive introduction (pp.599–610) refers to documents from the late Qing, including material on the “imperial assembly” (huanghui 皇会), supplementing that of the dharma-drumming associations), and details the use of the genre at weddings and funerals. Besides recordings made for the Anthology in the 1980s, the appetising transcriptions (pp.611–78) utilise early discs that I’m keen to hear—Pathé (Baidai) from 1908 and the 1920s, Shengli 胜利 from the 1930s. Cultural cadres recorded senior artists in the 1950s and even “in the mid-70s”. By the 1980s, surviving musicians were recorded for the Anthology, and took part in the Boxer movie Shenbian 神鞭 (Holy whip, 1986).

Tianjin shifanShifan band, 1930s.

Volume 2 opens with an introduction to the mixed ensemble shifan 十番 (text pp.679–701, transcriptions pp.702–875; further material on the late Qing societies Siru she 四如社 and Jiya she 集雅社 on pp.1327–8). Related to the better-known genres of south China, notably Jiangnan, shifan bands are also found in a few northern regions including Hebei (see my Folk music of China, pp.206–8). In Tianjin, where shifan was part of the thriving Kunqu scene before Liberation, the major figure in documenting the tradition was Liu Chuqing 刘楚青 (1909–99) (pp.1341–2), who used his youthful immersion in the culture to compile a major volume in 1987.

Notable among percussion ensembles (pp.876–1138) are the dharma-drumming associations (fagu hui 法鼓会), which my mentors at the Music Research Institute (MRI) in Beijing were excited to discover in 1986 and 1987 while attending major folk music festivals in Tianjin. These groups commonly subsumed a shengguan melodic ensemble—from the 1986 festival, listen to the MRI’s audio recording of the Pudong “music and dharma-drumming association” in Nanhe township, Xiqing district 西青南河镇普东音乐法鼓会. These events led us to the fieldwork of local scholars—notably Guo Zhongping 郭忠萍, author of the valuable overview in the Anthology (pp.876–97; transcriptions pp.898–1009; see also groups pp.1328–34 and biographies pp.1347, 1349), based on her more detailed early publication Fagu yishu chutan (1991). 

This section also introduces the percussion of “entertainment associations” (huahui 花会): “flying cymbals” (feicha 飞镲), stilt-walking (gaoqiao 高跷), dragon lanterns (longdeng 龙灯), and flower drum (huagu 花鼓).

“Religious music”
As always, despite my criticism of the term, this is a substantial category in the Anthology, subsuming some major traditions of Buddhist and Daoist ritual.

Tianjin templesJinmen baojia tu shuo (1846).

For major insiders’ accounts by temple clerics Zhang Xiuhua and Li Ciyou before and after the 1949 “Liberation”, see n.1 here, leading to Appendix 1 of my book In search of the folk Daoists of north China and the research of Vincent Goossaert.

Tianjin Daoists
Daoist band, Tianjin. Tell us more…

For “Buddhist music” (pp.1141–52) and “Daoist music” (pp.1274–9) the introductions can only serve as a starting point for more sophisticated fieldwork—like the transcriptions (pp.1153–1273 and 1280–1326 respectively). There are slim pickings here—although the section on Daoist temple music provides a remarkable vignette from 1972 (!) on a Pingju opera musician’s visit to Zhang Xiupei 张修培, elderly (former?) abbot of the Niangniang gong temple, to notate his singing for the purposes of “new creation”. This section also introduces Li Zhiyuan 李智远 (1894–1987) of the Lüzu tang and Tianhou gong temples; though laicized after “Liberation”, from 1985 he was able to support the renovation of the Lüzu tang. More promising are the rural areas, where there are always household Daoist bands to explore. The transcriptions end with three items of vocal liturgy from the Western suburbs (pp.1313–26): the popular “Twenty-four Pious Ones” (Ershisi xiao 二十四孝), the “Song of the Skeleton” (cf. the Li family band in north Shanxi), and Yangzhi jingshui 杨枝净水.

Xiangta laohui JCI

The accounts of many folk groups offer glimpses of the sectarian connection. In Yangliuqing township (known for its nianhua papercuts), the Incense Pagoda Old Association (Xiangta laohui 香塔老会, above) of 14th Street (which we visited all too briefly in 1989) had scriptures including Hunyuan Hongyang baodeng 混元弘陽寶燈 and Linfan jing 临凡經. Tracing their transmission back eleven generations to the Wanli era (1572–1620) of the Ming dynasty, they have remained active exceot for the hiatus of the Cultural Revolution. In the western suburbs the Tianxing dharma-drumming association (pp.1331–2) belonged to the Tiandimen sect, and groups in Dagang district (p.33) also derive from Tiandimen and Taishangmen sects.

For all its flaws, the Anthology remains a valuable resource; but as ever, the groups introduced there call for fieldwork from scholars of folk religion as well as musicologists.


* Rural Baodi is known to Beijing musicologists and other intellectuals for its “7th May Cadre Schools” (Wuqi ganxiao 五七干校), wretched sites of exile during the Cultural Revolution—for scholars of the Music Research Institute at Tuanbowa (Jinghai), scroll down here.

The male dominance of public performing

heying

Members and helpers of the South Gaoluo ritual assocation, 1995.

This group photo, taken on the final day of the New Year’s rituals, is deeply nostalgic for me—but it makes a stark reminder of the male dominance of public performing in China.

Women in public performance:
left, Herat, 1970s
right, spirit medium, Houshan 1993.

Gender is one of the main themes in ethnomusicology (as in all Walks of Life…)—see a very basic sample of readings under this post in my flamenco series. I introduced gender issues in expressive culture and ritual in China here, including shawm bands, opera troupes, itinerant bards, and spirit mediums. The old public/domestic division of labour serves as a simple framework.

Two astounding—yet male—performances:
left, Bernstein with the LSO, 1973
right, Kleiber with the Vienna Phil, 1991.

Much has been written on gender in the rarefied echelons of WAM: whereas female soloists have long been common, the male monopoly of conducting has only been broken in recent years. And as to the orchestral musicians…

Maybe we take this for granted in old videos, as I guess we did at the time, but now I’m shocked when I watch the amazing films of Bernstein’s Mahler. When he performed Mahler 2 with the LSO in 1973, the orchestra had only two women (the harpists, of course) among 102 players. By the time they recorded excerpts for Maestro around 2022, despite going to such lengths to achieve historical authenticity, they inexplicably used the players of today’s LSO, 45% of whom are women. The New York Phil admitted its first female section player in 1966; by 1992 it included 29 women.

The Berlin Phil began recruiting the occasional woman in 1982, but by 2003 there were only 14 female members out of 120 positions. The Vienna Phil made a token effort from 1997, but by 2013 still had only 6 women, and 17% by 2024. (For the disturbing Nazi histories of these two orchestras, click here.)

See also under Gender: a roundup.