As early as the late Ming and early Qing dynasties, Hubei people created a new type of opera based on the ancient Qingyang Opera, which was called Qing Opera, also known as Hubei Gaoqiang. It was once spread in Xiangyang, Jingzhou, Huanggang and other places, and became a very influential local opera. In the Ming Dynasty, Ganzhe Village in Tengchong, Yunnan, due to its special geography, became a post station for merchants, caravans, and soldiers on the ancient road from Tengyue to the south of Myanmar. After the 1950s, Ganzhe Village also started to run schools, and cultivated generations of village literati who had initial knowledge of Han culture and were devoted to Han culture among the Wa people. The merchants, soldiers and civilians who passed by also brought the refined and popular culture of the mainland to Ganzhe Village, including opera artists who were familiar with Qing Opera. In this way, Qing Opera spread in Ganzhe Village, and over time, it gradually evolved into Wa Qing Opera. According to experts, Qing Opera was introduced to Ganzhe Village around the Xianfeng period of the Qing Dynasty or before. During the Tongzhi period of the Qing Dynasty, Li Rukai, the head of the Wa ethnic group in Ganzhe Village, advocated the development of Qing Opera, actively organized rehearsals, and played the role himself, so that Qing Opera was often performed in the village and performed in surrounding Han villages. This was the prosperous period of Wa Qing Opera, and a group of backbone artists were trained. Wa Qing Opera is called Qing Opera mainly because of "qing singing", because when the characters come on stage, they often have to read the introduction or poems first, and then sing or speak; there are no complicated postures, and the performances on the stage are based on the actors' understanding of the plot; when singing, they play small hook gongs and small hairpins for accompaniment, and each sentence or paragraph is separated by gong and hairpin points such as "clang, clang, clang, clang, and clang" to set off the rhythm and atmosphere. The big drum, big cymbals, and big gongs were added later to show their roughness and majesty. Local artists generally call the martial arts field "fighting family affairs" and the literary field "sawing strings". The roles are divided into Sheng, Dan, Mo, and Chou. In ancient times, people did not wear makeup, but they began to wear makeup in the 1980s. The roles are dressed differently. The costumes are divided into clothes, pleats, pythons, and backs. The headdresses include helmets, crowns, scarves, hats, beards, boots, masks, etc. The costumes are not very particular, and most of them are simple patterns of birds and animals cut out of paper pasted on ordinary cloth. Nowadays, the commonly performed plays handed down by the Wa Qing Opera include "Jiang Gu Diaosao", "Driving Pang Shi", "Meeting in Lulin", "An An Sending Rice", "Returning to the Court to Submit the Imperial Edict", "Ennoble Han Yu", "Wenlong Resigns from His Wife", "Zhongli Enlightenment", "Climbing the Wall to Become an Immortal", "Xiang Zi Saves His Wife", etc. These plays are all based on the Han folk tales "Three Filial Piety" and "The Legend of the White Crane". There are "nine tunes and thirteen boards" in the vocal style, and the nine tunes are Dahan tune, Siping tune, Gao tune, Fang tune, Ku tune, Huayin tune, Baizhen tune, Canghu tune, and Tuzi tune. The thirteen tunes are Qingjiangyin, Langtaosha, Shanpoyang, Xiashanhu, Yizhihua, Didijin, Bubujiao, Zhuyunfei, Xiaotaohong, Daochuilian, Caihuahuang, Liuyeqing, and Kuxiangsi. These tunes are sung with alternating tunes and rhythms. One person sings and many others sing. They are melodious and pleasing to the ear. They are good at narration and lyrical, and have strong expressiveness. The stories of Wa Qing Opera are touching, the plots are vivid, the words are beautiful, and the characters are distinct. The singing style of Wa Qing Opera has basically not changed so far, and it still retains the original ecological form when it was introduced. It is a precious intangible cultural heritage of ethnic minorities. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)