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Babble comedy's battle for survival
By Xu Wenwen |
May 4, 2011, Wednesday
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Print Edition
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A comedy style with a rhythmic chanting delivery which originated in Hangzhou is at risk of being forgotten, and it's no laughing matter. Xu Wenwen hears from one of its few remaining practitioners on his own ideas and efforts to keep the gong-led chants going.
Around five years ago, Shanghai comedian Zhou Libo became a national star with his stand-up comedy show "Shanghai-style Clean Talk," which commented on urban life and economic issues. But his style of comedy is actually based upon several traditional Chinese styles, including xiao re hun (little heat-ridden babble).
Criticizing current politics and telling jokes are the key elements of xiao re hun, which is performed on a bench outdoors by one or two men who converse in a rap-like style while providing rhythm using gongs.
Originated in Hangzhou more than a century ago, the comedy style involves the chanting of news, jokes and various issues in fast verses. It was named so as to avoid the then-government's interference - "heat-ridden babble" means the words babbled by people suffering fever.
The art was invented by street hawker Du Baolin who chanted news and jokes to attract passers-by in Hangzhou to buy his pear syrup candies, a Chinese traditional cough medicine.
There was no stage or entrance fee. The audience could buy the candies as a compliment to the performer.
Reflecting real-life concerns, this Hangzhou style of chanting has been widely appreciated among locals, and has been handed down from generation to generation.
The chanting later became popular in Shanghai and the south of Jiangsu Province, where it was delivered in local dialects. In the early 20th century, Shanghai farce, which is also known as monodrama, derived from the art and today Zhou Libo has taken Shanghai farce to a new level.
As the predecessor of several comedy styles, xiao re hun was deservedly listed as a National Intangible Cultural Heritage in 2005.
However, its current situation is declining and the number of artists is decreasing.
Zhou Zhihua is one of the few remaining practitioners. As a descendant of little heat-ridden babble, he is also a well-known anchor for two local TV shows "Happy Tea House" and "A Liu Tou on News," both of which are delivered in Hangzhou dialect.
Zhou was born into an ordinary family and began to study the art after taking a huge interest in it. In order to be an actor in a local troupe, he gave up a college offer in 1961 and began his artistic career.
The 66-year-old created the TV shows seven years ago to revive the Hangzhou dialect culture. He initially succeeded - the two shows topped the local audience ratings list for years.
However, xiao re hun struggles to survive today.
Zhou analyzes the reasons for its decline - geographical limitations, content and time.
"Genuine xiao re hun is supposed to be in Hangzhou dialect, and hence the art is limited to Hangzhou," he says.
While xiao re hun also remains active in Shanghai and Jiangsu Province, they are delivered in their respective local dialects and therefore experience the same geographical problem.
"Secondly, the content of xiao re hun, unlike the farce or monodrama that are full of jokes, consists of verses, which do not focus on making the audience laugh but telling them news and stories."
It might be the biggest problem since news is so accessible today.
"Tens of years ago, few citizens subscribed to newspapers and obtaining information mainly relied on gossip in tea houses and the community," he explains. "And people loved to watch chanters telling them the latest news by role-playing, analyzing and adding their comments.
"Furthermore, modern people who live fast-paced lives do not have much time to enjoy the show," Zhou adds. "In old times, those loyal audiences came every day, but today there are few returning customers."
But the descendant does not agree that saving the art is a "hopeless" pursuit and he insists that traditional arts can drive the city's culture further.
"When the Han nationality was ruled by other nationalities, it gradually involved exotic culture but its own became distinguished. Why? Because once its culture survives, the nationality survives," he says.
"Hangzhou has its own city brand, and it has to emphasize its culture, which embraces its soul," says the old artist.
Zhou intends to revive the art by introducing fresh elements.
"The gong and bench can be replaced by laptop and projector," Zhou says. "As for the stories, it doesn't matter if they are old, but it does matter that the ideas are trendy and arouse people's sympathy."
Zhou also identifies the need for a permanent performance spot.
Today, xiao re hun outdoor shows are seldom seen, they are only staged during the intermission of traditional opera shows or as a part of a gala show.
"I am contacting Southern Song Imperial Street for a permanent stage for traditional arts, including xiao re hun and other local troupes," he says.
"And then, the artists can open training classes to recruit young actors and actresses," he adds. "Undauntedly, people will come and go, but even if one of the ten is willing to stay it will be great.
"I believe someday the audience will come and pay for performances. And then actors will be invited to give shows, so the financial problems will be solved, and more actors will come to form a virtuous circle," Zhou says.
Around five years ago, Shanghai comedian Zhou Libo became a national star with his stand-up comedy show "Shanghai-style Clean Talk," which commented on urban life and economic issues. But his style of comedy is actually based upon several traditional Chinese styles, including xiao re hun (little heat-ridden babble).
Criticizing current politics and telling jokes are the key elements of xiao re hun, which is performed on a bench outdoors by one or two men who converse in a rap-like style while providing rhythm using gongs.
Originated in Hangzhou more than a century ago, the comedy style involves the chanting of news, jokes and various issues in fast verses. It was named so as to avoid the then-government's interference - "heat-ridden babble" means the words babbled by people suffering fever.
The art was invented by street hawker Du Baolin who chanted news and jokes to attract passers-by in Hangzhou to buy his pear syrup candies, a Chinese traditional cough medicine.
There was no stage or entrance fee. The audience could buy the candies as a compliment to the performer.
Reflecting real-life concerns, this Hangzhou style of chanting has been widely appreciated among locals, and has been handed down from generation to generation.
The chanting later became popular in Shanghai and the south of Jiangsu Province, where it was delivered in local dialects. In the early 20th century, Shanghai farce, which is also known as monodrama, derived from the art and today Zhou Libo has taken Shanghai farce to a new level.
As the predecessor of several comedy styles, xiao re hun was deservedly listed as a National Intangible Cultural Heritage in 2005.
However, its current situation is declining and the number of artists is decreasing.
Zhou Zhihua is one of the few remaining practitioners. As a descendant of little heat-ridden babble, he is also a well-known anchor for two local TV shows "Happy Tea House" and "A Liu Tou on News," both of which are delivered in Hangzhou dialect.
Zhou was born into an ordinary family and began to study the art after taking a huge interest in it. In order to be an actor in a local troupe, he gave up a college offer in 1961 and began his artistic career.
The 66-year-old created the TV shows seven years ago to revive the Hangzhou dialect culture. He initially succeeded - the two shows topped the local audience ratings list for years.
However, xiao re hun struggles to survive today.
Zhou analyzes the reasons for its decline - geographical limitations, content and time.
"Genuine xiao re hun is supposed to be in Hangzhou dialect, and hence the art is limited to Hangzhou," he says.
While xiao re hun also remains active in Shanghai and Jiangsu Province, they are delivered in their respective local dialects and therefore experience the same geographical problem.
"Secondly, the content of xiao re hun, unlike the farce or monodrama that are full of jokes, consists of verses, which do not focus on making the audience laugh but telling them news and stories."
It might be the biggest problem since news is so accessible today.
"Tens of years ago, few citizens subscribed to newspapers and obtaining information mainly relied on gossip in tea houses and the community," he explains. "And people loved to watch chanters telling them the latest news by role-playing, analyzing and adding their comments.
"Furthermore, modern people who live fast-paced lives do not have much time to enjoy the show," Zhou adds. "In old times, those loyal audiences came every day, but today there are few returning customers."
But the descendant does not agree that saving the art is a "hopeless" pursuit and he insists that traditional arts can drive the city's culture further.
"When the Han nationality was ruled by other nationalities, it gradually involved exotic culture but its own became distinguished. Why? Because once its culture survives, the nationality survives," he says.
"Hangzhou has its own city brand, and it has to emphasize its culture, which embraces its soul," says the old artist.
Zhou intends to revive the art by introducing fresh elements.
"The gong and bench can be replaced by laptop and projector," Zhou says. "As for the stories, it doesn't matter if they are old, but it does matter that the ideas are trendy and arouse people's sympathy."
Zhou also identifies the need for a permanent performance spot.
Today, xiao re hun outdoor shows are seldom seen, they are only staged during the intermission of traditional opera shows or as a part of a gala show.
"I am contacting Southern Song Imperial Street for a permanent stage for traditional arts, including xiao re hun and other local troupes," he says.
"And then, the artists can open training classes to recruit young actors and actresses," he adds. "Undauntedly, people will come and go, but even if one of the ten is willing to stay it will be great.
"I believe someday the audience will come and pay for performances. And then actors will be invited to give shows, so the financial problems will be solved, and more actors will come to form a virtuous circle," Zhou says.
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