The third is to use one or several traditional Yangko tunes as the basic tune to formalize the singing tune. Although the singing tune is called "ban style", the singing style still retains the genes of the "four lines of Yangko" singing tune. This type of Yangko opera is represented by Xiangwu Yangko in southeastern Shanxi.
Fourthly, although the traditional tunes of one opera and one song are still retained, in the development process, not only the singing style of the Qupai style has been standardized, but also the various ban styles in Bangzi Opera have been completely absorbed. , used in the same play as the original tune. This type of Yangko opera is represented by Northern Shanxi Yangge (including Shuozhou Yangge, Fanzhi Yangge, and Guangling Yangge).
In the early days, Yangko opera bands mainly used percussion instruments. With continuous development, Yangko opera in various places gradually had orchestral accompaniment. Most of the musical instruments used were local Bangzi opera, other operas or folk operas. Instruments commonly used in bands.
The performance forms of early Yangko include "singing", "pretending" and "acting". It is precisely because of the diverse performance forms of Yangko that Yangko has become a Han folk art form of "song", "dance" and "drama". Longyao Yangko Opera was developed from the ancient rice songs performed by the local working people during transplanting, harvesting and working. Longyao Yangge was born in the late Ming Dynasty and early Qing Dynasty. It was formed as a troupe and toured on stage during the Jiaqing period. It has a history of more than 400 years and is one of the ancient local operas in Hebei Province.
According to different performance characteristics and regions, Longyao Yangko is divided into North, South and Middle Roads. The main characteristics of Longyao Yangko are: first, the performance is stage-oriented, with complete trades and perfect singing, chanting, and dancing, which is different from the folk art dance of Yangko. The second is the locality of the region, and the performance style is full of local flavor. Third, the repertoire is rich, with more than 200 plays according to statistics. Fourth, the language is popular, the lyrics are simple and vivid, the spoken language is rich in folk customs, and the singing tune is simple and lively. Fifth, the accompaniment is simple, and the singing is performed by a single person. In the early stage, there was only a martial arts field, mainly drums, gongs, cymbals, and bangs, and there was no literary field. In the later period, strings, shengs, and flutes and other literary instruments were added.
The tune of Longyao Yangyang singing is simple and unsophisticated, with no silk or bamboo to match it. Researching and discovering Longyao Yangge is of great value to the study of the history of Hebei and even Chinese opera.
The rice song conceived by Longyao Yangge and produced from farm work is not a compilation, branch or affiliation of any other type of drama. It has its own unique position in the history of Chinese opera.
In the long-term development process, Longyao Yangko has accumulated an extremely rich traditional repertoire. These projects include both Longyao Yangko and other plays. Most of the old Longyao Yangko artists are uneducated, so most of its operas have no scripts. They are all passed down orally from generation to generation by masters. There are more than 200 known traditional operas plus modern operas created after the founding of the People's Republic of China. During the heyday of Longyao Yangko, there were more than 200 troupes with more than 3,000 employees. However, as some of the old artists passed away, or some were old and unable to perform on stage. Due to the downturn in opera, young actors have found other jobs, and only a few old artists occasionally form groups to perform small plays or excerpts. The team of Longyao Yangko performers is aging day by day, the audience group is very narrow, the development has reached a low point, and it is in urgent need of rescue and protection. Dingzhou Yangko Opera, also known as Dingxian Yangko Opera, is an ancient opera popular in the central and western parts of the North China Plain. It is named after its birthplace in Dingzhou. It is said that its origin is a folk tune, which was compiled and handed down by Su Shi, a writer in the Song Dynasty.
Dingzhou Yangko has its own unique characteristics in terms of language, singing, mode and repertoire. The text of the play is easy to understand, as clear as words, with a large number of dialects and slang, and has a strong sense of life; the singing styles of both men and women are mainly in Gong mode, and the singing method is to use the native voice and shout with the real voice. There is no literary accompaniment in traditional singing, and there is no fixed key. The actors start the key at will, and after adding orchestral accompaniment, the key is D. A large number of lining words and function words are used in the singing.
The melody has more descending melodies, but the singing method is humorous and playful; the rhythm is mainly strict, with as many as 28 traditional banzai styles, and still retains the form of full percussion accompaniment (i.e., big gong tune); Dingzhou Yangge opera has a rich repertoire , covering a wide range of fields, including love, filial piety, public cases, comedy, etc.
Dingzhou Yangko has a unique singing style, and the traditional repertoire retains a large amount of folk customs and humanistic information, becoming first-hand material for studying Chinese folk customs and traditional culture.
In the beginning, Dingzhou Yangko opera was sung in the fields, and later on a stage was set up on the edge of the field. At first, it was just a ditty, and later it was compiled into a Yangko opera.
The compilation of Dingzhou Yangko songs began in the mid-Qing Dynasty. At that time, influenced by other dramas, some folk artists began to put on simple costumes to play characters. After 1926, a large number of Yangko artists emerged, and Dingzhou Yangko became very popular. In 1952, the Dingxian Yang Opera Troupe was established, and in 1959 the troupe reached its heyday.
After several periods of prosperity, Dingzhou Yangko gradually reached its trough. In 1988, the Dingzhou Yang Opera Troupe was disbanded, and the actors began to turn to folk activities, performing in groups. Although Yangko still has a group of new and old fans in rural areas, due to the serious shortage of manpower, material and financial resources of the troupe, its performances are far behind in terms of scale, frequency and quality of performances. Some old artists passed away one after another, and many plays were lost.
In order to save this ancient opera, Dingzhou City established the Dingzhou Yangko Protection Leading Group, formulated a protection plan, and successfully applied for the first batch of national intangible cultural heritage masterpieces, which is of great significance to the rescue and protection of Dingzhou Yangko. It is a good opportunity for Zhou Yangge. Shuozhou Yangko Opera is a comprehensive folk art form that integrates martial arts, dance and opera. It is popular in Shuozhou City and the surrounding Jining, Hohhot, Baotou and Hetao areas in southern Inner Mongolia, as well as in Zhangjiakou, Hebei and cities in Shaanxi close to Shanxi. Counties also exist. Shuozhou Yangko, which was performed by Yangko dance teams in squares and streets in the early days, has a long history. In the Song Dynasty, martial arts elements were added, and in the late Qing Dynasty, story content was added. Later, it was practiced among the people in two art forms: dance and opera.
The dance-based Yangko is called "Kicking Drum Yangko" and is mainly performed at festivals and folk events such as celebrating birthdays, celebrating birthdays, paying respects to sons-in-law, and fulfilling vows upon invitation. Yangko, which mainly focuses on acting, is called "Big Yangko". The tune of Dayangge is a collection of popular local folk songs and minor tunes, and draws on the singing structure and tunes of other operas to form a unique "synthesis" of banqiang and qupai. The repertoire mainly focuses on Taoist stories and folk tales.
Shuozhou Yangge has been popular in the local area for a long time and has evolved into different art forms, providing fresh materials for studying the development, spread and evolution of Chinese folk art.
In the 1930s and 1940s, Shuozhou Yangko was severely damaged. After liberation, artists who were scattered around voluntarily formed groups and gathered together to perform in villages and towns. Shuozhou Yangko entered a prosperous period. In addition to the traditional Chu, Hui and Ben operas, transplanted operas were also performed. In 1953, the state appointed relevant personnel to help select artists with higher skills and organized the Shuo County Xinyue Troupe, becoming the first organized performance group of Yangko. In 1956, the troupe was officially renamed Shuo County Dayang Opera Troupe, the first batch of actresses were recruited, and the business expanded again. The troupe was forced to suspend performances in 1966, disbanded the next year, and the artists returned to their hometowns. It was not until 1970 that the troupe was restored, the artists returned to the troupe again, recruited a third batch of students, and established 21 amateur rice opera troupes throughout the county. After the end of the "Cultural Revolution", opera gained new life. In 1977, historical dramas returned to the stage. In 1979, the Arts Research Institute of the Ministry of Culture made a video of the traditional Shuozhou Yangge opera "Ni Kiln". In the 1980s, the Shuozhou Yangko Festival once again regained its vitality. However, after entering the 1990s, the Shuozhou Yangko Festival was challenged by many aspects and faced serious survival problems.
Due to the lack of creative staff, the loss of outstanding actors, the lack of a fixed rehearsal venue, and a serious shortage of funds, the Dayang Opera Troupe can only participate in some charity performances or social activities, facing a difficult and embarrassing situation. Fanzhi Yangko Opera is popular in Fanzhi County and surrounding areas.
The tune of "Yangko" was introduced to Fendi and Baimashi areas in Fanzhi during the Wanli period of the Ming Dynasty (now part of Yingxian County). At that time, it was just a square art performed at street stalls. The masses called it "Yangge". "Wanyi" is also called "Fendi Yangge" according to the place. During the Daoguang period of the Qing Dynasty, folk artists Zhang Xin and Zhang Dai collected popular Yangge tunes and instrumental music from various places and improved them. They also absorbed the singing styles of other operas and integrated them into "Yangge", and transplanted the repertoire of other operas into "Yangge". Perform on stage.
There are 86 repertoires of Fanzhi Yangko opera, and more than 70 are regularly performed, including early folk operas and gradually developed serial operas. The structure of Fanzhi Yangge singing tune is a mixture of Banqiang style and Qupai style. Among them, there are 10 basic Banqiang styles, 17 "training tunes" of Qupai style, several minor tunes and 75 instrumental tunes.
Fanzhi Yangko opera evolved from folk dance into opera. Its singing style integrates various types of opera singing styles, which is of great value for studying the development history of Chinese drama.
In 1956, the Fanzhi County Government organized scattered artists and formally established the Fanzhi Yang Opera Troupe. After the troupe was established, a large number of outstanding actors emerged one after another and formed their own artistic characteristics and styles.
In 2006, Fanzhi Yangko was announced by the State Council as the first batch of national intangible cultural heritage. Since then, the professional and amateur troupes of Fanzhi Yangko have gradually become active again, and traditional repertoires have appeared on the stage again. The full name of Huazhou Yangge is Huazhou Yangge Opera, also known as Buyi Opera. The Yangge in Jiangjia Village, Guocun, North and South Huitoufang Village in Chishui Town, Hua County, Jiangcun in Dongyang Township and Gaotang Town are the most famous.
Huazhou Yangko opera has a long history. Relevant data records: It originated from the "Nuo dance" of the Han Dynasty, evolved from the "Village Music" of the Song Dynasty, and flourished in the Daoguang and Guangxu years of the Qing Dynasty. It was named "Weihua Yangge" in 1957, and was called "Huazhou Yangge" in "Hua County Chronicles".
From the 1930s to the 1950s and 1960s, Huazhou Yangko was very popular. It participated in provincial and municipal cultural performances many times and received wide acclaim. After a brief pause during the "Cultural Revolution", Huazhou Yangko regained its vitality in the 1970s. In 1975, it participated in mass amateur music and dance performances across the province; in 1982, it participated in the "Weinan Region Folk Literature Census Report Meeting" ", "Selling Groceries", "New Year's Eve", "Pomegranate Baby Burning Fire", "Xiao Xi Picking Up My Sister" and other plays have been well received. However, by the late 1980s, with the advancement of the times, economic and cultural development, and the diversity of culture and art, Huazhou Yangko Opera gradually lost its former prosperity and vitality. The creation and performance market of plays is declining year by year, there is a shortage of performing talents, and script innovation is stagnant, putting Huazhou Yangko opera on the verge of extinction.
After 2004, the Hua County Government used it to conduct census, research, excavation, and sorting out Huazhou Yangko opera materials, and support provincial folk literature artists and playwrights in collecting, excavation, and sorting out Huazhou Yangge opera short operas for printing and publishing. The book "Weihua Yangge". Huaxian County Culture and Sports Bureau hired relevant experts to inspect and demonstrate the Huazhou Yangko Opera, explore its value, and rehearse more than 30 classic short plays in the Huazhou Yangko Opera. From 2006 to 2007, special personnel were organized to survey, collect, and sort out the Huazhou Yangko opera again, forming written and audio-visual materials; recording and videotaping the artists, and establishing an art archive of the Huazhou Yangko opera. And Huazhou Yangko has been declared as a provincial and national intangible cultural heritage protection list. While being passed down from master to apprentice, Huazhou Yangko has gradually become a professional group performance. In many villages in the western mountainous area of ??Pingshan County, the folk custom of singing Yangko opera has been spread during the slack season. It originated from agricultural production labor. The Yangko opera in Pingshan County has its own unique style, so it is called Pingshan Xidiao Yangko opera.
According to the "Pingshan County Chronicle", in 1853 (the third year of Xianfeng), Yangko became popular in the countryside, and farming was often delayed due to Yangko singing. Hence the official ban. To the east of Shijiazhuang is Donglu Yangko, and to the west of Shijiazhuang is Xidiao Yangko. Due to the different dialects in the area, the Yangko sung has different tunes, so it is divided into East and West.
Pingshan’s Western-style Yangge, also known as Big Yangge, is a local local opera with only military instruments, drums, gongs, spinners and cymbals. It is performed in the form of "singing seven times, eight times and nine times, wearing a small coat over a big shirt, plus a waistcoat, one singing door to door, two singing street stalls, making one's own clothes, known as the baggage class".
Every New Year’s Day, the people in the temple spontaneously form group performances, with almost no literati participating, so they are all taught orally and passed down from generation to generation. Compared with Peking Opera, the five major roles are born, dan, clean and ugly, but there is no end.
The plays performed are all folk trivial matters, legends, anecdotes about parents being mean-spirited and beating their wives to discipline their children.
The singing style of Pingshan Xidiao Yangko is euphemistic and beautiful. It uses changeable upper and lower sentences and long and short percussion accompaniment to form an artistic feature that is popular, concise, easy to sing and understand, and humorous.
In the late Qing Dynasty, due to word-of-mouth transmission by the artist Cui Tianbao, Yangko successor Li Tongxiang (stage name "Zhao Xindan") and others appeared, and several major schools were formed. Among them, the "Tongxiang Sect" had the greatest influence. In 1926 (the 15th year of the Republic of China), Western-style Yangko was still quite common in Pingshan County, and almost every village had a Yangko opera. After liberation, Western-style Yangko has innovated and developed, adapted and processed some dynasty plays, carried out reforms in tune and music, tried to change the tradition of Yangko without strings, and pioneered the precedent of Yangko with Gua strings. Later, more than 30 hand-copied scripts of Western Yang Opera were circulated in Liujiagou Village and Bailongchi Village, Guyue Town, Pingshan County, and there were also performances in these two villages. But in general, it is in a state where there are few descendants, it is difficult to develop, and it is in urgent need of protection. Weizishui Yangko Opera is an older folk opera in Mentougou District. It is formed by combining Yangko with other singing, dancing, opera and other art forms. Yangko opera originated around the Jiaqing period of the Ming Dynasty.
The accompaniment of Wei Zishui Yangko Opera is mainly percussion, mainly composed of single-skin drums, sandalwood boards, etc. Only gongs and drums are used in the whole show, without silk and bamboo; during the performance, a "guy" is played and a opera text is sung; The accompaniment is sonorous and powerful, the rhythm is clear, and the singing voice is vigorous and bold, high-pitched and passionate. According to other research, the Yangko opera is very similar to the high-pitched opera that was popular in the Ming and Qing Dynasties (one person sings alone, others help, and only uses percussion accompaniment, with high-pitched tones and rich recitation characteristics). The singing and accompaniment of the Yangko opera in Weizishui Village are both It has the characteristics of Ming Dynasty high-qiang opera, and the main singing tunes are "Pulling Gong Tune", "Da Yangge Tune", etc., some of which are similar to the phonology of Hunan Huagu Tune. The repertoire includes "Zhao Yun intercepts the river", "Zhang Fei catches the boat", etc.
Weizishui Village Yangko Opera has strong local folk opera characteristics. Its repertoire content is intact, has a long history, and is simple in style. It has certain historical value for the study of folk operas in western Beijing; at the same time, it also provides a basis for the study of the historical relationship between western Beijing area and Cultural exchanges and business dealings with the outside world provide historical information. In addition, the Yangko opera in Weizishui has enriched the local people's spare time life and become a unique local opera.
Although the props, costumes, musical instruments, etc. of the performance team of Weizi Water Yangko Opera have been updated with the help of the state and the government, the performance team also has a lack of successors due to the old age of the old artists. The plight of man necessitates the urgent need to cultivate new inheritors. Qitai Yangge is a folk opera originated from Taigu, Shanxi. It is also called Taigu Yangge and Jinzhong Yangge. Originally originated from agricultural labor, it is a folk tune sung by rural cultivators to accompany their farming activities. Its origins can be traced back to the Tang and Song Dynasties. With the development of society and economy, this folk tune gradually incorporates movement, dance, martial arts and skills into it. It developed into "Local Yangko" and "Crossing Street Yangko" that can be performed and enjoyed. Later, it borrowed the essence of folk art from other places and gradually developed from street singing into a local opera with 388 repertoires.
Qitai Yangge is a comprehensive art that integrates music, dance, singing, chanting (Tao Bai), doing (performance), and martial arts (Wu Yangge), with singing as the mainstay. Either one play has one song, or one play has many songs. The melody is beautiful and the language is lively and lively. The content mainly reflects the labor, love and other rural life of farmers in Qi County, Taigu County and Jinzhong. The plot is simple, and the lyrics are mostly parallelism. , the dance movements are lively and diverse. The performance is simple, simple and rough, with a sense of life and local characteristics.
In the early days of the founding of New China, there were 71 amateur rice opera troupes in Qixian County with more than 2,000 artists. In the Yangko dance left over from the old society, the essence and the dross coexist. In the performance, there are both the essence of art extracted from life, and the ugly and obscene dregs of life.
In November 1951, sponsored by the Qixian Cultural Center, the "Qitai Yangko Research and Reform Society" was established. In terms of performance reform, a lot of work was done to "innovate". As a result, unhealthy things were eliminated, a batch of traditional Yangge opera repertoires were sorted out and adapted, and modern plays such as "Selecting a Son-in-law" and "Giving a Dowry" were transplanted and staged. In terms of vocals and music, the rhythm was strengthened and the beats of gongs and drums were enriched. Some plays are also accompanied by string accompaniment. From then on, Qitai Yangge gradually moved towards the path of healthy development.
Due to various reasons such as the influence of multicultural entertainment, the inheritance and development of Qitai Yangge has been restricted to a certain extent, and its survival and development are facing an endangered situation. In order to better protect, inherit and develop Qitai Yangge, in 2006, based on the recommendation of relevant departments, Qitai Yangge was officially approved to be included in the provincial intangible cultural heritage protection list. Xiangwu Yangge is a form of opera spread in Xiangyuan and Wuxiang of Shanxi Province as well as Yushe, Zuoquan, Heshun and other places in central Shanxi Province. It was originally a folk tune in Xiangyuan and Wuxiang areas, and later became associated with Xihuo Yangge. Fusion, gradually evolved under the influence of local languages, is a local opera in Shangdang area after Shangdang Bangzi and Shangdang Luozi.
Xiangwu Yangge began to be sung for Ganban, and the masses called it "Ganban Yangge" and "Digequan Yangge". During the Qianlong and Jiaqing years of the Qing Dynasty, there were semi-professional troupe activities. After the first year of Xuantong (1909), Xiangwu Yangge learned from Shangdang Bangzi in terms of repertoire, performance procedures, accompaniment instruments, music tunes, costumes, stage installations, etc. There was even a form of singing with Yangge and Party Bangzi, that is, playing the role of officials People who play the role of ordinary people sing Bangzi, people who act as ordinary people sing Yangko, or people with colorful faces sing Bangzi, and students and Dan sing Yangko.
Xiangwu Yangge is the collective name of Xiangyuan Yangge and Wuxiang Yangge. According to the classification method of opera music tunes, Xiangyuan Yangge belongs to various folk song and dance styles. The structural form of the singing chamber is a banqiang body. The upper and lower lines of the singing are a basic unit, which change regularly and are repeated. There are two types of traditional singing styles: Liushui and Gelian. Xiangyuan Yangge and Wuxiang Yangge have different styles. The former is dominated by the mid-range, with low-pitched, graceful and delicate characteristics, while the latter is dominated by the high-pitched area, which is high-pitched, exciting, clear and bright. According to research, there are 239 traditional Xiangyuan Yangge repertoires and 157 modern repertoires. Most of the roles in traditional repertoire are based on the three minors (xiaosheng, dandan, clown). The language is easy to understand, the local flavor is strong, and the images are humorous. Representative plays include "Lanying Goes to Beijing", "The Match of Yufeng", etc. The modern representative repertoires of Xiangyuan Yangge are "Li Youcai's Banal Talk", "Xiao Erhei's Marriage", "Old Eight Road", etc.
The Xiangyuan County People's Troupe is a professional Yangko troupe in Xiangwu. The local government attaches great importance to it and provides certain financial subsidies every year. The troupe mainly performs yangko, and sometimes performs bangle and singing and dancing. Compared with other county-level troupes in Shanxi Province, its survival situation is relatively good. Yuxian Yangge, also known as Yuzhou Bangzi, originated in Yuxian County, Hebei Province, and is popular in Zhangjiakou area of ??Hebei Province, Yanbei and Shanxi areas of Shanxi, and some banner counties in Inner Mongolia. It originated from the folk, developed from field ditties, folk songs and slang, and absorbed a large number of ancient opera tunes that were circulated in the northern region in the early days, forming a relatively complete type of Bangzi tune. Yuxian Yangko highlights its own characteristics in the form of a clever combination of "dialect vernacular" and banqiang style with "training tune" singing tunes.
Yuxian Yangge originated from the late Ming Dynasty and early Qing Dynasty. During the Kangxi period, it formed a Bangzi opera type with its own repertoire, music, performance, singing and other contents. By the time it reached its peak during Tong and Guang years of the Qing Dynasty, there were more than 210 private classes and societies. The performance market reaches as far away as Ulaanbaatar, Mongolia. After liberation, the professional Yuxian Yang Opera Troupe was established. In the late period of the Cultural Revolution, it was adapted into a cultural troupe, and later changed into the Yuxian Jin Opera Troupe. In 2005, the troupe resumed its work of exploring, inheriting and innovating performances of Yuxian Yangge opera.
Hancheng Yangge is a folk art that integrates singing, dancing, speaking and performance, and is the prototype of a song and dance drama with elements of opera.
There are 60 tunes in Hancheng Yangko. Excluding the beginning of the song, the end of the song, the number board and some variations of the tunes, the actual number of tunes is about 40. These tunes have different moods and styles, and rhythms of different lengths. The lyrics are strictly limited by the tunes. They can be improvised and sung during singing, and can be long or short, humorous and interesting. Hancheng Yangko is called "Yangko singing" or "Yangko opera" rather than "Yangko twisting" or "Yangko dancing" because it always focuses on singing, and the main body is folk songs.
Hancheng Yangko is usually performed by 2-4 people. The program is short, lively and simple, with graceful singing and cheerful and vigorous dance. With the development of the rhythm of the plot, the dance movements use posture (gesture) as "start", flash as "continue", twist as "turn", and jump as "join"; sometimes "big, medium, small" is used, that is, big Movements include small movements, such as a big swing of the body, a small shake of the head; a big swing of the arms, a small twist of the hands; a big kick of the legs, a small turn of the wrists, etc. In short, the dance movements of Hancheng Yangge can be summarized as: flashing, twisting, turning, running, rocking, swinging and jumping; slowing down and tightening, big, medium and small, starting cleverly and just returning, shaking down and going up, relative to the rush, In a state of singing.
The Ming and Qing Dynasties were the final period of Hancheng Yangko. In the middle of the Ming Dynasty, some scholars from Hancheng worked as officials in Zhejiang, Sichuan, Yunnan and Guizhou, etc. After their servants returned to their hometowns, they brought the southern yangko tunes back to Hancheng, and also absorbed the ideas of Qinqiang, Pu Opera, Meihu and other operas. A lot of nutrition makes Hancheng Yangko draw on the strengths of others and become unique.
During the Guangxu period of the Qing Dynasty, Hancheng Yangko entered its heyday. In the second year of Guangxu (AD 1876), Han Minqing, a yangko artist from Hancheng, led a yangko troupe to Beijing and was recruited by the Empress Dowager Cixi to perform in the palace. A "yangko coach" was set up in the palace to teach yangko performance. In the twenty-fifth year of Guangxu's reign, Ji Guanying, the magistrate of Hancheng, held a Hancheng Yangge Festival performance in order to receive Zhang Qihua, the imperial envoy of the Qing Dynasty, which demonstrated the charm and exquisite art of Hancheng Yangge fans.
During the Spring Festival in 1926, Xue Fengchuan's famous artists Jiande and Tianbao, each the leader of the village's Yangko class, set up a stage to sing Yangko duet. For a moment, it was indistinguishable. In the 1940s, as Meihu, Pu Opera, and Qin Opera occupied the urban and rural stages of Hancheng, Hancheng Yangko gradually declined. By the 1950s and 1960s, Yangko performances were rarely seen in Hancheng. .
After the founding of New China, Hancheng Yangge was discovered and injected with new vitality by provincial, prefectural and municipal literary and art workers. A batch of Hancheng Yangge repertoires with new forms and contents were created, making Hancheng Yangge more popular. The city's Yangko became a hit. Especially on May 1st in 1963, Yangge opera repertoire such as "Baling Pole Song" and "Female Commune Member" were specially performed at Tiananmen Square in Beijing, and later performed in Zhongnanhai. They were a great success and were recorded.
After more than ten years of silence during the "Cultural Revolution", reform and opening up has brought Hancheng Yangko back to life. In 1985, the "Hancheng Yangge Society" was established. Subsequently, a series of books "Hancheng Yangge Repertoire" and "Hancheng Yangge" were published, and the repertoire and music of Hancheng Yangge were extensively collected and organized.
In June 2008, Hancheng Yangko was included in the second batch of national intangible cultural heritage protection lists. Northern Shaanxi Yangge is mainly distributed in Suide, Mizhi, Jiaxian, Wubao, Zizhou, Qingjian, Yanchuan, Ansai, Zhidan and other areas in the two urban areas of Yulin and Yan'an. The Northern Shaanxi Yangge in Suide County is the most popular. Complete, most systematic, and more representative. The artistic style of Northern Shaanxi Yangko in Suide County can be divided into North Road Yangko and South Road Yangko. Among them, the representative folk artists of North Road Yangko are Wu Jiye and Li Zengheng, and the representative folk artists of South Road Yangko are Su Shuwang, Su Guitang and He Junyi.
In 2006, Northern Shaanxi Yangko was named a national intangible cultural heritage protection project by the Ministry of Culture. Jiaozhou Yangge is the representative of Jiaodong Yangge, which is mainly spread in Jimo, Huangdao, Jiaonan, Gaomi and other areas of Shandong. It is popular in the fifty-mile radius around Jiaoxian County, especially in the Dagu River area.
Jiaozhou Yangge originally had names such as "Diyangge", "Running Yangge", "Three Bends", and "Twist the Waist". After the founding of the People's Republic of China, in order to distinguish it from Yangge in other areas, it was mainly active in The Jiaozhou suburbs are collectively known as "Jiaozhou Yangge".
The basic number of Jiaozhou Yangko performers is 24. If the number increases, it must be an even number. The Yangko team needs one or two organizational leaders who are responsible for the affairs of the entire team, commonly known as "Yangko Masters." There is also a person who is played by a coach or an old performer of the Yangko team, called "Umbrella Head". The umbrella leader must have sharp eyesight, quick thinking, and the ability to be articulate. Before the performance, he must recite some jingles or say some auspicious words, and the language must be humorous. In addition, the Yangko team also needs 3 to 5 coaches, who are responsible for training actors and acting as actors. The roles of Yangko are divided into five types: "Cuihua", "Fan Girl", "Xiaoman", "Drum", and "Bangchui". Generally, there are 2 or 4 people for each role, and the number cannot be odd. Cuihua is a young woman and girl. During the performance, her movements are generous and stretched, showing the woman's aggressive, cheerful, generous, yet gentle and demure character. Xiaoman is a young girl, and her performances are innocent, lively and pretty. Both the drum and the stick are middle-aged and young men. The drum is smart and humorous, and the stick is heroic and vigorous.
The musical accompaniment of Jiaozhou Yangko generally uses feather-style folk wind and percussion music with beautiful melody, changeable tones, bright rhythm and rich local flavor. The music of Yangko is closely related to the dance movements. The eighth notes used in the music to express the rhythmic characteristics of Yangko dance, which is "slow and fast", are very typical. The music is used flexibly according to the dance mood. The two are highly harmonious and unified in strength and speed. .