Lufeng Quban sitting singing is one of the outstanding forms of Lufeng's traditional culture. It has a long and significant historical value, folklore value and sociological value with precious theatrical art value. It has been included in the first batch of intangible cultural heritage lists of Lufeng City. Lufeng Quban sitting singing has a long history. It is a form of quyi performance. There are mainly two types: Baizi Quban and Xiqin Quban. Its sitting singing Baiziqu was formed after Baizi opera came to Hailufeng with the people who migrated south during the Ming and Qing Dynasties, and collided and ran-in with the local folk culture. Xiqinqu originated from Xiqinqiang in Longdong area of Gansu during the Qin Dynasty. It is said that it was introduced by the Xiqinqiang team brought by Liu Tianyu, a Shaanxi native who came to Guangzhou as an official during the Wanli period of the Ming Dynasty. On the premise of retaining its own tone, it absorbs the music in local folk songs, minor tunes, string poems and brother dramas, and forms the unique vocal characteristics of Xiqin sitting singing tunes. The Baiziqu of Quban sitting singing is divided into big gong and drum music and small gong and drum music. Baiziqu Lufeng people commonly call it "Ayi Nuan". The vocal tune is a combination of tunes. It is sung in dialect and belongs to the high tune. The Wen master or musician of the Baizi Quban teaches to sing (play) Baizi Qu with the "Er Si Pu". The vocal tune of Xiqin Qu is a variation of the board style, and the male voice uses both true and false voices; the female voice mainly sings the false voice, supplemented by the real voice. The dialogue and singing of the songs all use the Zhongzhou rhyme. Most of the female roles in the Xiqin Quban are sung by male actors. The traditional tunes of Baizi Qu include: Pingban, Suonanzhi, Xiaodenglou, Tanqindiao, Luoshanhu, Haidiyu, Diandianjin, Sibianzuo, Bushilu, Hongpai'ao, Houtou, etc. The Xiqin vocal tunes for sitting singing include: Zhengxian, Xipi, Erhuang, etc., a total of 36 board styles, and 62 singing methods for men and women. The performance form of the Quban sitting singing is that the Quban artists sit around the Quchu, and the singers do not make any movements, singing the lyrics and reciting the dialogue of each role accompanied by music. The number of people in a troupe is generally around 20, with 12 people in the front stage (including percussion), usually half male and half female. The percussion (drum head) in the front stage is played by Xi Xiansheng (lead singer and director), and the singers are all male and female teenagers under the age of 20; the accompaniment actors in the back stage are relatively older. The main accompaniment instruments include gongs, drums, cymbals, chuizai, erhu, huyin, and erxian qin. Among them, the one who plays the third chui (small suona) is the master, and the one who plays the "head string" is the head player. After the artists, there are audiences who listen to the music, either standing or sitting. There are two forms of sitting singing in the troupe: "sitting at night" and "walking". "Sitting at night" is played four times in a row, and the whole song is sung from beginning to end; "walking at right time" is to go to each village and village, and sing from door to door. The sitting singing time is about fifteen to twenty minutes. These are mainly performed on festivals and festive days. When the troupe sits and sings, the string music is melodious and the gongs are ringing. The rural charm and local accent are particularly attractive. Each libretto contains both reason and teaching, or exhorts the world to be diligent, or promotes righteousness and criticizes evil. It allows the audience to receive subtle enlightenment while appreciating the art of opera. It is extremely beneficial to social progress and human civilization. In the villages where "qu" is performed, young people often gather together to learn songs, which is conducive to exchanging feelings and enhancing unity. The singing of the quban is a prominent form of expression of Lufeng's traditional culture. It has precious dramatic art value and long and significant historical value, folklore value and sociological value. From opera literature to musical singing, it retains the early characteristics and rich historical sedimentation of local traditional opera in southern Fujian and eastern Guangdong, the "Mandarin" language characteristics of the old China period and the high-pitched and passionate music characteristics of the southwest region, and has a high research value for language, performance and music evolution. The singing of the quban is combined with local folk customs and even religious beliefs and sacrificial activities, which directly affects people's value orientation and has special value in folklore research and humanities research. Farmers in Lufeng area use their spare time to form "quban" to entertain themselves, which has great value for the study of culture, economy and folklore in today's society. Source: "Lufeng Intangible Cultural Heritage" (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)