However, most attendees were still folk art enthusiasts. They were curious about Qi Shejiang’s performance featuring the zidi shu (the disciple’s book). Over the thousands of years of Huaxia culture, countless types of folk arts have been passed down, many of which have been lost. When an art form becomes extinct, it means it has reached the end of its development, suggesting that the people have lost interest.
Zidi shu has depth and connotation; formally speaking, it is too difficult to learn, hence it has gradually evolved and faded away.
From the singing segment of “He Bi Xi Xiang,” it can indeed be called melodious, but does it possess enough charm, like Jingyun Dagu, Peking Opera, or Kunqu Opera, that endures over time and continues to captivate people today?
That, I suppose, everyone should judge for themselves.
In theory, tonight, Qi Shejiang would present the essence of zidi shu, and they awaited it with anticipation.
…
For his performance costume, Qi Shejiang was wearing a bright red embroidered bird-patterned changshan, creating a festive atmosphere suitable for the Spring Festival. It also highlighted his rosy lips and white teeth. When he stood backstage, people passing by often turned their heads to look.
The outfit was similar to what one would wear for crosstalk. After all, both zidi shu and crosstalk historically haven’t had fixed performance costumes, unlike traditional operas. As long as the performer dressed formally, it was fine. According to his own habits, he chose the changshan over a suit.
“Qunying Huicui” (Gathering of Heroes) was in the second act, and when it came to Qi Shejiang’s segment, the director signaled, and dozens of people, including dancers, took the stage.
The stage setting was as festive as always, and when the music started, a renowned Jingyun Dagu artist wearing a red-embroidered qipao stepped forward to play the large drum while singing the famous section “Feng Yu Tong Zhou.”
Then, a teacher who sang Pingtan came to the center of the stage, singing delicately with pipa accompaniment, showcasing southern charm that was completely different from the large drum.
The big names took turns singing; unlike other galas, there was absolutely no lip-syncing at the folk arts stage.
The applause from the audience was incessant. For folk art enthusiasts, this was genuinely a feast for the senses.
The final performer was Qi Shejiang.
