DEVOTEE STRINGS ALONG A MUSICAL LEGACY
The ancient instrument’s future, a cornerstone of Jing culture, has been secured largely thanks to the efforts of one dedicated man, Yang Feiyue and Shi Ruipeng report in Dongxing, Guangxi Zhuang autonomous region.
Su Chunfa keeps time with his feet and gently moves his head as he runs his right hand over a single string that hangs over a wooden base.
Melodious ethnic music flows through the air.
The 63-year-old seemingly loses himself to the music as he plays the duxianqin (a onestring dulcimer), a traditional instrument of the local Jing ethnic people, whose ancestors were said to have migrated from Vietnam about 500 years ago and settled on the Wanwei, Wutou and Shanxin islands off the coast of Dongxing.
Su seems to forget our presence as he plays for us when we visit him in Wanwei village, Dongxing, southern China’s Guangxi Zhuang autonomous region, and only returns to us after he finished the piece.
He plays a few more traditional pieces and let us get a good measure of the charm of the duxianqin, which was made part of China’s national intangible cultural heritage in 2011.
“It’s amazing that one string can produce such a wide range of melodies,” says Su.
The Duxianqin is an indispensable part of life for the Jing people, who largely live in coastal areas and earn a living from fishing.
They often play music and sing during their spare time after returning from sea, or as part of major celebrations, such as weddings.
Its existence dates back to the 8th century and the instrument has long been popular in Southeast Asian countries such as Vietnam and Myanmar.
Su was drawn to playing the one-stringed instrument since the age of 5.
“My family was into the duxianqin, which affected me a lot,” he says.
“I used to work in the pastures and feed the cattle for my uncle in order to get on his right side, so he would teach me how to play.”
The more Su learned, the deeper his love grew for the duxianqin.
He became a disciple of a local master when he turned 11, along with four of his friends, all of whom quit after a while, unable to endure the difficult and repetitive training sessions.
One needs to pluck the dux- ianqin’s string, while simultaneously controlling the pitch by moving the instrument’s spout, which resembles a stick, to adjust the tension on the string.
“It relies purely on hand feeling and needs years of practice,” Su explains.
“The tricky part is to play accurately and quickly”.
Su was the only one who stayed the course and saw things through. After around two years of study, he began to give performances along with other Jing artists, and the excited and curious audience fueled his enthusiasm to continue honing his skills. His performances then made their way from his neighborhood to Shanghai, Guangdong and Guizhou, where he became a sensation.
“People were interested and it’s a great way to show Jing culture to the outside world,” he says.
In addition to performing with the duxianqin, Su has long engaged in promoting the art form by teaching local students, since the 1990s.
“There were very few people who could play back at that time, and my teacher asked me to carry on the legacy of the duxianqin,” he recalls.
At first, he went to local schools and taught the instrument for free. Then, the number of his students grew. So far, Su has imparted his skills to hundreds of young people.
“I can put my mind at rest now, because I have many students who can play the instrument decently,” he says.
There are more than 10 places that offer duxianqin lessons in the region and Su would also send duxianqin to them to encourage the adoption of the instrument, and regularly review the lessons himself during his visits.
In 2008, Su’s active engagement in local art and culture earned him the title of head of Hating, a site for local Jing ethnic people to gather and celebrate major festivals.
Under Su’s leadership, the annual traditional Hajie, or Changha festival for Jing people, has grown over the years.
The festival took shape in 1511 after the Ming Dynasty (1368-1644), but was halted in the 1960s before being re-established in the 1980s.
It takes place on the ninth day of the sixth month of the Chinese lunar calendar, which falls on July 21 this year.
Su’s duxianqin performance has greatly spiced up the festival, along with sacrificial rituals, singing, dances and harvest celebrations.
It has become quite a sight, as more than 100 locals in Jing ethnic costumes play the musical instrument at the same time to worship the god of the sea on the beach near Hating during the festival.
“The place is filled with visitors during the Hajie festival,” says Tan Haidong, an official with the Dongxing government.
Jing culture has given local tourism a shot in the arm — a total of 600,000 people visited the coastal area in the first six months, up 6.8 percent compared with the same period last year, according to Tan.
“More are expected in the summer,” he says.
Visitors usually interact with the locals at the night gala and eat with them during the festival.
Moreover, the duxianqin has helped Wanwei village to develop a deep friendship and strong ties with Vietnam.
People from Vietnam make visits to the town every year, and interact with the Jing people in Guangxi.
“We also sing together,” Su says. Thanks in part to Su’s efforts, the duxianqin is not confined to the local Jing people any more.
People from all across the country, including Hong Kong, northeastern Liaoning province, come to Su’s door.
“I’m really excited that more people are fond of it, and our Jing culture will continue to thrive,” he says.