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Keeping the rhythm going
By Ma Xuehui |
December 15, 2010, Wednesday
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Print Edition
Print Edition
HE may not have been around during kuaiban's heyday, but one dedicated practitioner of the Chinese rap-like storytelling tradition is doing all he can to keep it alive. Ma Xuehui discovers how.
Overshadowed by other forms of modern art performance, the once popular kuaiban (clapper talk), featuring rhythmic talking and singing, is waning as a traditional Chinese storytelling art.
However, Sha Changfeng, a post-1980s newcomer to Hangzhou, is reviving kuaiban's former splendor as a performer and teacher of the folk art performance. He is optimistic and unyielding, mentioning "there are more methods than difficulties" as his motto.
Sha's name sounds like a kung fu master portrayed in martial arts books. Not excelling in martial arts, Sha's proficiency actually lies in kuaiban performance.
Kuaiban originated in northern China, in cities such as Tianjin and Beijing. It was traditionally performed by beggars in the past, and percussive instruments such as a set of small bamboo boards or a clapper were rattled to produce an accompanying beat.
As a former performer in the army's troupe, Sha started writing kuaiban scripts and performing them in 1999. His path as a kuaiban performer has been tough, bitter and lonely.
"About 100 people learnt kuaiban with me, while only two to three of them persisted and made it a career," Sha says. "It is by no means an easy job if you want to make a living by performing kuaiban, particularly for less famous artists."
Between the 1950s and 1980s, kuaiban thrived and reigned on the stages in China as there were only a few cultural delights available at that time.
The 1970s witnessed the heyday of kuaiban, which was a staple inclusion in any gala's repertoire.
Sha is too young to have experienced this boom time for kuaiban but when he talks about the performance's glorious past, the traces of frustration and solitude on his face are obvious.
"The whole situation has changed and few people are now willing and patient enough to sit down and listen to an old story of a bygone era that may last 20 minutes," he says.
Feeling the pinch but not deterred, Sha dedicates his time to promoting kuaiban, which he calls a "grassroots art."
"Hollywood thrillers and soap operas should not be the only cultural flavor of our society and other art genres should also take a spot in the limelight," he says.
The success of the crosstalk style of comedic performance fueled by Guo Degang, one of China's most famous stand-up comedians, in 2005 helped gather some attention for kuaiban, which is part of Guo's performance, but it hasn't been able to slow down the decline of kuaiban's development.
Compared with some Chinese operas which have a large number of enthusiasts in China, great efforts are still needed to revive kuaiban performance, Sha says.
He is determined to be a royal promoter of kuaiban and is convinced that his perseverance will yield one day.
At first, he had no revenue and no stage, but he survived. To make a living, Sha has become a master of ceremonies and devoted the rest of his time to promoting kuaiban. Known for his humorous style, Sha earns about 2,500 yuan (US$375) for each wedding. He hosts two weddings every week and spends the rest of his time pursuing his kuaiban career.
Sha says the part-time job has freed him from economic burden and made him concentrate on his beloved art.
Over the years, Sha has had more than 500 students nationwide.
"Learning kuaiban is not difficult and it helps people overcome their timidness and keep an upbeat and positive spirit as well as good poises."
Sha made a video of his kuaiban teaching and posted it online. A kuaiban buff in Tianjin flew to Hangzhou to learn from Sha after watching the video.
While it is assumed that most of Sha's kuaiban students are elderly, this is not so. The majority of his prot??g??s are young white-collar workers.
Sha says practising kuaiban improves people's articulation, eloquence and communication, the major reasons why teachers, tourist guides and television hosts follow him.
Similarly, office workers learn kuaiban to give themselves a performance skill that will stand out among the clich??d singing and dancing at their companies' annual gatherings.
Only nominal fees are charged for materials as Sha's single aim is to promote kuaiban rather than making a profit.
Sha says seven to eight courses, each lasting 90 minutes, are enough for an amateur to perform a kuaiban routine. But for those who wish to reach a higher level, at least half a year of training is necessary.
Sha relays an interesting story from one of his former students who worked as a tour guide. He incorpoated kuaiban into his tour commentary and as a result enjoyed star-like status among the tourists entertained by his comedic style.
One female was so fascinated by his amusing performance that she fell in love with him. The couple then started dating.
Sha jokes it was a satisfying accomplishment for him and repeatedly tells the story. "Each time a person expresses an interest in following me to learn kuaiban, I am engulfed by a sense of fulfillment and joy," Sha says.
Overshadowed by other forms of modern art performance, the once popular kuaiban (clapper talk), featuring rhythmic talking and singing, is waning as a traditional Chinese storytelling art.
However, Sha Changfeng, a post-1980s newcomer to Hangzhou, is reviving kuaiban's former splendor as a performer and teacher of the folk art performance. He is optimistic and unyielding, mentioning "there are more methods than difficulties" as his motto.
Sha's name sounds like a kung fu master portrayed in martial arts books. Not excelling in martial arts, Sha's proficiency actually lies in kuaiban performance.
Kuaiban originated in northern China, in cities such as Tianjin and Beijing. It was traditionally performed by beggars in the past, and percussive instruments such as a set of small bamboo boards or a clapper were rattled to produce an accompanying beat.
As a former performer in the army's troupe, Sha started writing kuaiban scripts and performing them in 1999. His path as a kuaiban performer has been tough, bitter and lonely.
"About 100 people learnt kuaiban with me, while only two to three of them persisted and made it a career," Sha says. "It is by no means an easy job if you want to make a living by performing kuaiban, particularly for less famous artists."
Between the 1950s and 1980s, kuaiban thrived and reigned on the stages in China as there were only a few cultural delights available at that time.
The 1970s witnessed the heyday of kuaiban, which was a staple inclusion in any gala's repertoire.
Sha is too young to have experienced this boom time for kuaiban but when he talks about the performance's glorious past, the traces of frustration and solitude on his face are obvious.
"The whole situation has changed and few people are now willing and patient enough to sit down and listen to an old story of a bygone era that may last 20 minutes," he says.
Feeling the pinch but not deterred, Sha dedicates his time to promoting kuaiban, which he calls a "grassroots art."
"Hollywood thrillers and soap operas should not be the only cultural flavor of our society and other art genres should also take a spot in the limelight," he says.
The success of the crosstalk style of comedic performance fueled by Guo Degang, one of China's most famous stand-up comedians, in 2005 helped gather some attention for kuaiban, which is part of Guo's performance, but it hasn't been able to slow down the decline of kuaiban's development.
Compared with some Chinese operas which have a large number of enthusiasts in China, great efforts are still needed to revive kuaiban performance, Sha says.
He is determined to be a royal promoter of kuaiban and is convinced that his perseverance will yield one day.
At first, he had no revenue and no stage, but he survived. To make a living, Sha has become a master of ceremonies and devoted the rest of his time to promoting kuaiban. Known for his humorous style, Sha earns about 2,500 yuan (US$375) for each wedding. He hosts two weddings every week and spends the rest of his time pursuing his kuaiban career.
Sha says the part-time job has freed him from economic burden and made him concentrate on his beloved art.
Over the years, Sha has had more than 500 students nationwide.
"Learning kuaiban is not difficult and it helps people overcome their timidness and keep an upbeat and positive spirit as well as good poises."
Sha made a video of his kuaiban teaching and posted it online. A kuaiban buff in Tianjin flew to Hangzhou to learn from Sha after watching the video.
While it is assumed that most of Sha's kuaiban students are elderly, this is not so. The majority of his prot??g??s are young white-collar workers.
Sha says practising kuaiban improves people's articulation, eloquence and communication, the major reasons why teachers, tourist guides and television hosts follow him.
Similarly, office workers learn kuaiban to give themselves a performance skill that will stand out among the clich??d singing and dancing at their companies' annual gatherings.
Only nominal fees are charged for materials as Sha's single aim is to promote kuaiban rather than making a profit.
Sha says seven to eight courses, each lasting 90 minutes, are enough for an amateur to perform a kuaiban routine. But for those who wish to reach a higher level, at least half a year of training is necessary.
Sha relays an interesting story from one of his former students who worked as a tour guide. He incorpoated kuaiban into his tour commentary and as a result enjoyed star-like status among the tourists entertained by his comedic style.
One female was so fascinated by his amusing performance that she fell in love with him. The couple then started dating.
Sha jokes it was a satisfying accomplishment for him and repeatedly tells the story. "Each time a person expresses an interest in following me to learn kuaiban, I am engulfed by a sense of fulfillment and joy," Sha says.
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