The Chengyin Dharma Drum of Yixingbu was first built in the late Qianlong period of the Qing Dynasty (1790). It was a time of social prosperity and peace. The Dharma Drum had been separated from a separate ritual of thanking the gods and gradually transitioned to a folk entertainment activity and prospered. The ancient town of Yixingbu was built in the 20th year of Yongle. It is separated from the urban area by a river and has a superior geographical location. Influenced by the Mazu Imperial Meeting and the canal transportation culture in the city, the Yaowang Temple was built first and then the Bixia Palace, which laid a good foundation for the establishment and development of the Chengyin Dharma Drum. The Dharma Drum is played by the goddess of the temple when she goes on tour. The Chengyin Dharma Drum means the music of the sincere sound. The Chengyin Dharma Drum uses five percussion instruments: drum, cymbals, cymbals, clang clang, and cymbals. The drum is the conductor, and the drum frame is carved with auspicious animals such as dragons and lions. On the second, fifteenth and sixteenth day of the first lunar month, the birthday of Mazu on the twenty-third day of the third lunar month, and the Bixia Palace temple fair on the twenty-eighth day of the fourth lunar month, Chengyin Dharma drums are set up for performances. During the busy farming season, the performances are set up during the day (a shed must be set up for the performances) and performed at night. When the fair is held, the 13 Taoist associations in the ancient town pay homage to each other, with the lion association as the leader and the Dharma drums as the finale. In front of the Chengyin Dharma drums is the ceremonial guard, including the front color and the band. The front color is the warning for people to avoid when the goddess goes out on tour, as well as the daily necessities that the goddess carries with her, etc., and also includes two gate flags, high-rise, soft pairs, hard pairs, lantern boards, round cages, suitcases, and tea samovars. Behind them are the percussion band and the association's large picture (association flag), nine lotus lanterns, etc. The majestic, spectacular and auspicious way is used to open the way for the goddess's tour, fully reflecting the respect for the goddess. There are also dozens of colored lanterns during the evening performance. The colored lanterns not only add color and facilitate the performance, but also the lights and firelight have the meaning of exorcising evil spirits and symbolize light. The magnificent scenery of the temple after nightfall during traditional festivals is reflected in the distance. The whole team is bright and spectacular, like a colorful dragon. Chengyin Dharma Drum has inherited traditional skills and gradually formed its own unique style and distinctive performance mode in practice. There are seven sets of drum scores, and five sets are commonly used: drum heart, lion, Laohexi, single and double bridge, and drum door. The five percussion instruments have separate performances. Among them, the "drum heart" is unique to Chengyin Dharma Drum. The drum heart starts with the cymbals, and the others start with the cymbals. It is required to start steadily, gradually speed up from slow to high tide, and show the characteristics of the goddess being gentle, steady and well-prepared when still. When moving, it shows the goddess running in the wind and waves all her life, fearless in danger, and the spirit of helping the distressed. At the climax, it is like a thousand horses galloping, and when it is on the stage, it is like a thunderous momentum, showing the scene of the goddess doing good deeds, getting help from heaven, following the will of the people, and celebrating the world. Chengyin Dharma Drum is a combination of civil and military skills. The performers wrap their heads and chests, squat on horses, and dance with the cymbals flying up and down. The movements are both hard and soft, integrating music and dance. The tunes emphasize the yin and yang, the duality of folk music and Buddhist music, and the colorful and antique props are deeply loved by the people. Chengyin Dharma Drum has participated in various folk festivals in the late Qing Dynasty and the early Republic of China and after liberation. In 1956, it won the Hundred Flowers Award at the First Tianjin Farmers' Art Festival Folk Flower Fair, and won the second prize in the Jingu Flower Fair held in Beining Park in 1986. In 2008, it was rated as a new "Five Ones" characteristic team of civilized villages by the district government. In 2010, Yixing Port Second Street was approved as a Tianjin Folk Cultural Characteristic Village by the Municipal Bureau of Culture, Radio, Film and Television because of Chengyin Dharma Drum. Chengyin Dharma Drum has been passed down for seven generations: the first generation inheritor Li Guangtai (1773-1865); the second generation inheritor Li Yucai (1824-1902); the third generation inheritor Han Chaogui (1901-1983); the fourth generation inheritor Shi Decheng (1909-1986); the fifth generation inheritor Li Chunan (1937 to present); the sixth generation inheritor Li Enqing (1943 to present); the seventh generation inheritor Han Tingjie (1955 to present) formulated the protection content for orderly inheritance, namely the traditional performance skills, the existing seven sets of drum scores, the traditional performance props, and the club props; respect the suggestions put forward by the old artists, protect their rights and obligations; start training from young people; team building, activity venues, and funding sources. At the same time, take corresponding protection measures: 1. Actively participate in the flower fairs and celebrations organized by the city and district, vigorously promote and display the association, and increase its visibility. 2. Improve the management system and establish the archives of the association and its members. 3. Have a fixed venue for activities and appoint a person to manage props and costumes. 4. Respect old artists, give full play to their enthusiasm, and play the role of promoters and pillars of orderly inheritance. 5. Organize training courses to teach notation and playing methods, improve the playing level of members, recruit new members, expand the performance lineup, and ensure successors. Information source: Tianjin Beichen Cultural Information Network (No pictures yet, welcome to provide.) Information source: Tianjin Beichen Cultural Information Network (No pictures yet, welcome to provide.)