Director of Meizhou Mazu Tempel Society, one of the three major festivals in China. The Mazu Belief and Custom edited by Cai was listed in the representative list of human intangible cultural heritage by UNESCO. Quangang Beiguan and Quanzhou Ten Tunes, edited by Cai, were published as "the first representative works of national intangible cultural heritage", collectively referred to as Quanzhou Beiguan. Member of China Musicians Association, national musician, erhu player, connoisseur of cultural relics and natural history, and national dance collector.
Chinese name: Cai
Alias: Puwei
Nationality: China.
Place of birth: Putian, Fujian
Date of birth: 1939
Date of death: 2007
Occupation: Director
Masterpiece: Mazu Festival
The life of the character
Cai, pen name Pu Wei. 1939-2007, a native of Putian, Fujian. He used to be the deputy director of Quanzhou Mass Art Museum and Putian Mass Art Museum, and a member of China Musicians Association. In 2009, the Mazu belief custom directed by Cai was listed in the representative list of human intangible cultural heritage by UNESCO, and the Mazu Tempel Fair became one of the three major festivals in China. In 2006, Quangang Beiguan and Quanzhou Ten Tunes edited by Cai were published as "the first representative works of national intangible cultural heritage" in 2006, collectively referred to as "Quanzhou Beiguan".
Major achievements
Meizhou Mazu Tempel Festival, one of the three major festivals in China, was created by Cai, with Mazu belief as its main content, and was listed in the representative list of human intangible cultural heritage by UNESCO. In 2000, a grand ceremony was held in Meizhou Island to commemorate the 40th anniversary of Mazu's birth 1040. For this reason, Cai repeatedly went to Meizhou Island to collect wind, inspected the reconstruction of the Yellow Crane Tower and the chime of the tomb of Zeng Houyi in Wuhan, and creatively introduced Mazu Festival. Finally, the general director Cai directed and designed a spectacular live reproduction of royal ancient music. Xinhuanet reporter interviewed Cai, the general director of the sacrificial ceremony, and explained the mystery: musicians sat in front of chimes, drums, lyres, harps and other retro instruments and did not play, but used them for "performance" because many instruments and playing methods have been lost and can only be replaced by modern synthetic music; However, the musicians are not "chaotic" at all. They all sit in accordance with the word "palace", which is the restoration and reproduction of the royal ancient music scene.
On April 29th, 2000, the Mazu Tempel Conference to commemorate the 40th anniversary of Mazu's birthday1040th was held in the 3rd Meizhou Mazu Cultural Tourism Festival. The event was unprecedented in scale, well-planned and powerful. Since then, the program and content of Mazu Tempel Festival in Meizhou have been basically finalized, and spring and autumn festivals have been held every year, and demonstration ceremonies have been held in Hongkong, Macau, Taiwan Province Province, Kinmen and other places, which have had a great influence at home and abroad. On May 20th, 2006, the 2000 edition of Meizhou Mazu Tempel Club was included in the first batch of national intangible cultural heritage by the State Council. On September 30, 2009, Mazu belief with this version as its main content was listed in the representative list of human intangible cultural heritage by UNESCO.
Since then, Taiwan Province Provincial National University, Putian College and other university libraries with Mazu beliefs and customs have successively put the Meizhou Ancestral Temple Festival: Putian Music Scenery Series, which was directed by Cai. Literary highlights of Fujian Mazu Cultural Tourism Festival/Editor-in-Chief and Director Cai: Fujian Audio-visual Publishing House,
2. Commemorating the 40th anniversary of Mazu's birth1040th anniversary —— A speech after the sacrifice of Meizhou ancestral temple
interview
I. The origin of the name
Cai was adopted by Cai family since childhood. Cai's biological father liked to have more boys at first. So the first one gave birth to a son, and the whole family was happy. It was the word taken at the beginning of the four-corner number 00, and it was named Guangming. There were several words under Guangming. It means that the east is bright. How many people are there? The second child is also a boy, so I named it pavilion. Below the pavilion is a T, which means to add more words. The third child's name is Hao, and the tapir is below Hao. There are many piglets at home. How could three boys buy a family in the poor old society? As a result, another boy came, named Gao. There is a mouth to compete. Look, there's another one to eat. I didn't expect the fifth person to appear again, so I named him Heng. That's it. Stop. So, as an extra old four (named Gao), he gave it to Cai's family in his teens and named it Cai. Actually, the name was given by the teacher. The teacher repeatedly indoctrinated not to forget three people: adoptive parents and biological mothers. The adoptive parents are Cai's surname and Lin's birth mother's surname. Three people can't forget it, so they added three apostrophes and the name came out, Cai Wangbin.
Second, academic setbacks.
Those who used to pay so much attention to names basically belonged to the scholarly family type. In fact, it is. Influenced by the family of traditional intellectuals, Cai began to emerge in high school. Good reading, good sports and better music. At that time, once there were entertainment activities in Putian, you would definitely see his shadow. Dragon and lion dance, ten tones and eight music, must have his share. In the first year of college entrance examination, Cai wanted to build the motherland in mathematics and physics, so he applied for the science university and got excellent grades, thinking that he could go to college. However, Cai was disappointed with the school's proposal not to accept students. In the second year of the college entrance examination, Cai applied for the Institute of Physical Education, which was also excellent in character and learning. But the school still suggested not to accept it. In the third year, Cai was admitted to the Conservatory of Music, thinking, I can always do it this time. But he still refused to accept the suggestion, which made him unknown on the list. Cai, a young man, realized that something must be wrong. So I consulted the director of the academic affairs office of the school and learned that the adoptive father was the principal of the old society, and his family composition was too high to go to college. The director of the academic affairs office suggested that building the motherland is the first priority, and a bad family background does not mean that individuals cannot pursue progress. It is a very good choice to teach in the remote island of Rinan in Putian, but there is a lack of Chinese teachers in Rinan Island. Cai's first job was as a Chinese teacher at Nanridao Primary School.
Third, find another way out.
After 1 year's teaching career, Cai suffered day and night. This is not the life I need at all. What is my inner desire? If you can't go to college, do you still have to teach? After 1 year's hard thinking, the stubborn Cai resolutely resigned from his teaching post, set out from the island and returned to Putian. He is willing to become a glorious working class, learn from his teacher in a bicycle shop, practice his skills and learn to repair bicycles. However, the adoptive father found this rebellious child and said to him without any worries: "Son, if you are so disobedient, you will bring trouble to the whole family!" " "
Cai is in pain. Putian can't stay any longer. I'll go. Without money, holding two steamed buns, we set out in the direction of southern Fujian, and there was no way to go anywhere. Just look for a job all the way, earn some food, get sleepy, and the host family has a shelter for one night. If there is no place to live, find a corner for the night. Even if the conditions are so difficult, young Cai will always find a water source, wash himself clean and seriously think about what he really needs.
One day, Cai passed by an overseas Chinese troupe in Jinjiang area. This is a newly formed opera troupe, and some musicians are fiddling with erhu, flute and other musical instruments. Cai, who hasn't played musical instruments for a long time, suddenly got excited. So Cai Wangbin went in and asked, "Can I play erhu, too?" The troupe has just been formed and is short of people. In fact, someone hit a gun, so the troupe staff gave the erhu to Cai. Soon, a beautiful melody came out. At first, it was vault, and later, there were ballads in northern Henan, fantasia in Sanmenxia, and new songs flowed from Cai's fingertips. It was a great achievement to be able to fight in northern Henan and Sanmenxia at that time. After the show, the next song is "Two Springs Reflecting the Moon", and bitter feelings surge out in the music. In this way, Cai became a member of Jinjiang Troupe. Soon, the young Cai not only made his mark in skills, but also showed superb coordination and management skills. Finally, he became the head of the band, the deputy head and the head of the opera.
Fourth, the accumulation of life
Soon after, Quanzhou Art School was established. Cai was transferred to Quanzhou Art School as the principal. It was a crazy time. Many artists from poor families can't get into university. After Cai became the principal, the first thing he did was to start classes. No matter how old you are, as long as you have the ability, you will confess. Therefore, many people in this class are older than the headmaster Cai. My father, at that time, solved many people's diploma problems in this way, and also solved the problems of hukou and eating. These problems were not trivial at that time.
In the impression of Cai Dingnan, the son of Cai, there are several things that are very profound.
"The first thing is that in the early 1980s, my father was promoted to deputy director of Quanzhou Art Museum. On one occasion, Wang Dingnan and Ding Cong from Quanzhou went to Putian on business with their father. Drop by my house. Wang Dingnan saw that the brick in my house was pitted, so he used an idiom to test me: dripping water wears away the stone. I can't answer it on the spot. When I solved the mystery, I suddenly realized that I was happy and that I was ridiculed. I argued that bricks are not stones, let alone dripping water wears away stones. I didn't know until I grew up that after the incident, my father increased his amateur work tasks and his salary was higher. What's more, many students sent a lot of calligraphy and painting to my father. " When talking about this matter, Cai Dingnan burst into tears, but soon, he told a second story.
"Speaking of calligraphy and painting, I will think of the second thing, that is, a couplet in our old house, which is very interesting. It's not a word like "welcome the spring and receive blessings", but "the desert is lonely and straight, and the Yellow River sets the yen". These words are simple and vigorous, very beautiful. When I was a child, I often stared blankly at the couplet and imagined how to write such an artistic font with pen and ink. Later I realized that this was a letter from one of my father's students. This student is very famous, that is, the calligrapher Mr. Lin Jianpu. Now that I think about it, I should be a student who was admitted when I was the principal of an art school. "
It was at that time that Cai got in touch with a large number of folk artists, protected a large number of people, got in touch with folk music deeply, and completed the accumulation of life.
Five, the excavation and precipitation of folk music
About 84 years ago, Cai went to Beijing to rescue and explore the folk "Seven Stars Lantern" program, participated in the Beijing performance and won the first prize. Cai Dingnan said: "My impression is that my father won the prize, so I set off fireworks for the first time in my life. Later, my father often talked about the existence of a north pipe in Quangang area. I don't know what it is, but I found that my father, who is often away from home, no longer plays with us as before, but reads books all night and occasionally beats the table and whines. "
When we inquired about Cai's works, we realized that in 1989, he compiled a book "Quangang Beiguan", and many modern works about Beiguan music will take Cai's article as a reference.
"In 2006, during my father's illness, someone called me and said that Quangang Beiguan and Quanzhou Ten Tunes were published as" the first batch of national intangible cultural heritage masterpieces ",collectively known as Quanzhou Beiguan. I told my father that my father just smiled and didn't take this as an important thing. "
Cai didn't take the management of the North of Quanzhou as a very important job, because he did a more important job after 1999 retired.
Sixth, become attached to Mazu.
In 2000, Lin Jinbang from the management committee of Meizhou Island Ancestral Temple came to the door and asked Cai to add color to Mazu Memorial Hall. "In those days, my father consulted a lot of information every night and worked late into the night. Soon, he suddenly left home. Collect wind in Meizhou Island for a week. There will always be big photos of the materials when I go home, and then I will stay at home and continue to write. " Cai Dingnan recalled that these days, he always felt that his retired father was busier than when he was in office.
Cai said in the article: The Book of Rites in Historical Records reads: "Look at the gains and losses of three generations." It can be seen that the ancients did not stick to the ancient times, emphasizing that salute was in line with human feelings and humanity.
It is for the sake of respecting the past and not the mud that Cai went to Wuhan, carefully studied the layout of Zeng Yi's tomb and its chimes, and inspected the reconstruction process of the Yellow Crane Tower. To commemorate the 40th anniversary of Mazu's birth 1040, a Mazu Tempel meeting directed by Cai was held. Since then, Cai has been invited to Hongkong, Macau, Taiwan Province Province, Kinmen and other places for demonstration ceremonies, which has had a great influence at home and abroad. In the end, Meizhou Mazu Tempel Club became the first batch of national intangible cultural heritage in the State Council. As the main content of Meizhou Mazu Tempel Club, this version of Mazu's belief and custom was listed in the representative list of human intangible cultural heritage by UNESCO.
Seven, music outside Cai.
"Father is serious. When we were children, we were afraid of him. But strangely, although we are afraid of him, we like to stick to him. Besides, in my memory, my father never hit us. Cai Dingnan, the son of Cai, recalled. "My uncle is honest and diligent. Being with us juniors is definitely amiable, good at drinking and courageous! " Cai's nephew and Dai described this. In the eyes of Cai's colleagues, it is another scene. "Cai eloquence is very good. Everyone is convinced that the key to the problem can be said in one sentence, and they will be happy to accept criticism. " "Cai is a very weighty leader. His leading role will basically come out in Putian, and no one will push from pillar to post. Everyone buys his account, old-timer, appealing, good man! "
Overlap after Meizhou Temple Fair
———— Original: Cai Yi knows everything.
The large-scale festival of Meizhou Ancestral Temple has been successfully held for two sessions. This year coincides with the 40th anniversary of Mazu's birthday 1040, and the 2000 Fujian Mazu Cultural Tourism Festival will also be held during Mazu's birthday. Putian Municipal Party Committee and Municipal Government decided to entrust the Municipal Bureau of Culture to form an expert group to be responsible for the design and organization of Mazu Festival, the key project of this cultural tourism festival. It is required to make an impact, strive for practical results, and make a festival that both Mazu believers and non-Mazu believers, officials and people can celebrate. It is more artistic to combine singing and dancing. With only two months left, it's really hard to bid so high. We have to struggle since the ducks were driven off the shelf. Fortunately, Jiang Weichun and Zhou Changfu have been following the class and making ink for the festival, which makes my heart jump into my throat.
At the beginning of the ceremony design, many well-intentioned people suggested to us that Mazu belief and Mazu culture have such a wide coverage and rich connotation that Mazu ceremony must be standardized and even required to be the blueprint and model for future ceremonies.
The standard of sacrificial ceremony is beyond our power, and the ancients did not seem to be demanding. The Book of Rites in Historical Records reads: "Look at the gains and losses of three generations. It is the source of knowing human feelings, making gifts and making utensils according to human nature. " It can be seen that the ancients did not stick to the ancient times, emphasizing that salute was in line with human feelings and humanity. They have a good theoretical basis: "Heaven is vast, tunnels are vast, and human nature is well prepared. Although the heaven is wide, it can't be revealed without human methods. Although the tunnel is wide, it can't be realized without people. Only those who can govern people, change everything, and prosper and abolish everything, have since. " It can be seen that our ancestors attached great importance to the ontological role of human beings. If it is described in modern language, can it be said that heaven, earth and people are three talents, and people are the center? Only human beings can rely on the natural laws of heaven and earth to make everything serve human beings. Among them, there are changes, and we must choose between prosperity and waste at any time. So our conclusion is that the ancients allowed it to vary from time to time, from place to place and from person to person.
It is true that not forgetting the past is not self-denial and denial of predecessors. On the contrary, all good practices and useful experiences should be carefully studied and used for reference. Based on these understandings, we carefully investigated the Mazu sacrifice in history. After watching the video materials of the first two sections, it is determined that section 94 is the basic framework and necessary supplements are made. After the overall framework and guiding ideology of the festival were basically established, we entered the specific design of each part of the event and drew up the schedule of the festival agenda (attached). The content is as follows:
Background of the altar. Mazu Title: "Virgin Mary in the sky, infinite Yuan Jun." The title can't be higher, which shows that Mazu's merits can be compared with Tiande in history. It is understandable that we set up an altar in the highest form of worship to heaven. "Zhou Li and Qiu Guan Four Mouths" contains: "If the princes are United, they will make 30% of the altar." Hao Datong's Taikoo Ji (Volume III) has three talents like three altars. The upper altar is round, the dharma world is heaven, and the middle altar is eight out, like a person, and the lower altar is square and on the ground. So we decided to build an altar for sacrifice. Mr. Xue, who is in charge of altar design, built a three-level altar on the platform in front of the bell and drum tower according to the layout of the original building complex of the ancestral temple. The lower floor is square with a diameter of 8m and a height of 0.4m.. The middle layer is octagonal, with a diameter of 6.6 meters and a height of 0.4 meters. It is equipped with an imitation white marble railing, and four doors in the southeast and northwest can lead to the altar. The upper layer is circular, with a diameter of 5 meters and a height of 0.3 meters. The "Three Altars" system embodies the philosophical ideas of three talents in ancient China. Because the altar is open-air, open the line of sight from the Imperial Gate to the central axis of Chaotian Pavilion. The venue of the festival has expanded and the level has become more lively. The dance floor, the stage, the pen, the altar, the bell and drum tower, the main hall and the Chaotian Pavilion were elevated one after another, all of which appeared in front of the believers and the audience, making people feel vast and magnificent, as if they were directly in the sky. The momentum is more magnificent, which enhances the solemn atmosphere of the festival activities.
Music creation. In order to enrich the expressive force of festival music in many ways, praise Mazu's lofty virtue, highlight the local characteristics of Mazu's hometown, and meet the appreciation requirements of modern people, as a composer, Mr. Li Shangqing boldly used the seven-tone Puxian opera music "Crossing the Mountain Tiger" to develop and change. Among them, there are relaxation, compression, variation and reorganization of rhythm and beat; There is also the contrast, overlapping, interweaving and chasing between timbre and sound area. In particular, the phrase at the end of each dedication always reverts to (73276 | 5-| 73276 | 1-‖), forming a pure reflection of four degrees rising and five degrees falling, so as to unify the three sacrifices in one palace. In terms of accompaniment, in addition to the use of eight tones, local musical instruments have also been added. Reformed Qin (Zhaqin) and Chihu, and enriched the timbre of the band. Some people say that China ancient music is pentatonic, but it is actually prejudice. Harmony and Miao in Huai Nan Zi Tian Zi Xun are seven tones. In ancient times, there were twelve methods of three-point profit and loss method, but the standard at that time was twelve semitones that were not completely equal. Zhu Zaixiang, a legalist in Ming Dynasty, founded the law of twelve averages after accurate calculation. But Bach didn't really put it into practice until the west18th century. According to records, Jiang Baishi (Jiang Kui), a musician in the Southern Song Dynasty in China, wrote songs, and he also liked to use techniques such as changing semitones, changing new voices and jumping five or six degrees.
As for "harmony", it was not imported, but existed in ancient China. Gu Yuefu responded to some commonly used empty voices; The lyrics of Zhi Zhu and Cai Lianzi in the Tang Dynasty appeared alternately in the sentence or at the end of the sentence, and the "winding sound" in the orchestral music in the Song Dynasty was a harmonic technique, but it was simple and immature. I now use simple national harmony in sacrificial music, which is a complete continuation of the ancient system. The use of local musical instruments is impeccable, and we consider it based on emphasizing the folk characteristics of Mazu's hometown. In addition, Hu Qin was nationalized (Han nationality) in the Song Dynasty. Shen Kuo's "Meng Qian Bi Tan" and "Mawei Huqin follows the Han car", by the Yuan Dynasty, Huqin Qing 'an was already a "neck rolling leader" (see Introduction to Chinese Music). Our supplementary development is not only allowed, but also necessary. Otherwise, how can it be called the ancestral temple festival in Putian?
"Great joy and joy" and "big gifts must be easy" are relative. When Confucius heard Shao's "rare voice", he praised him for "harmony but difference" and opposed "lust", "obsession", "annoyance" and "arrogance". Today, with the development of electronic digital society, for multi-body and large-volume electronic vocal music, symphony and jazz, our "three-contribution music" with large mode can be called "rare sound" and "easy music" by comparing a small amount of national harmony with timbre and sound area.
Music and dance design. 1994, the music and dance "Bashu Dance" was all performed by women. This time, we joined the male dancers and the dance team consisted of 64 people, half male and half female. Male dancers are good at grasping Zhai, and Zhai has the reputation of graceful feathers, showing masculinity; The female dancer holds a traditional opera, and the legend of the opera is the accompaniment instrument of Yu Shi's music and dance "Heroes". Dance always imitates the shape of a cockroach playing, showing feminine beauty. Music and dance are both rigid and flexible, praising Mazu's martial arts.
In order to create the mysterious color of Mazu's arrival, when we greet God, let the audience shout "Welcome God" with sacred songs, as if echoing in the sky. Smoke rose from the altar and filled the air. Eight fairies descended slowly from the height of the main hall and sprinkled flowers all over the room. And then disappear into the smoke. In this order, the formal sacrificial activities began.
The focus of the festival is not only the actual sacrifice, offering, offering, praising, wishing, burning incense and bowing down according to religious ceremonies, but also the music and dance "Three Sacrifice Dances". Ms. Yu Qin, the choreographer, really racked her brains. We should not only consider maintaining the solemnity of sacrifice, but also consider artistry and visibility; Consider the independence of music and dance ontology; It should also be considered in combination with actual sacrificial activities. After careful discussion, we decided to let the basic dance of the "Three Sacrifice Dances" run through, that is, the male dancers put their heads in their hands, while the female dancers squatted aside and blew cups on their faces. Combine the "car shoulder" and "butterfly step" of Puxian Opera to ensure the unity of dance style and distinctive local characteristics.
In order to integrate music and dance with sacrifice, we let Alice wear a sacrifice tray in her hands and enter the dance team. Dancers danced around the offerings. After that, surrounded by the dance team, Ran Ran went to the altar, and the chief priest personally presided over the dedication ceremony. This overcomes the shortcomings of sacrifice and dancer's self-dancing, and truly achieves the integration of dance and dedication.
In addition, we also determined the respective keynote and basic creativity of the three-string dance. The first sacrifice (the joy of sea level) praised Mazu's arrival as "Ba Shen is peaceful, and all parties return to virtue" with four broad and affectionate beats and pious external forms and inner feelings; Yaxian (the joy of peace) sang the song "Nan Feng Xun Xi" about the prosperous and peaceful life of the people with beautiful and cheerful three beats and lively and lyrical dance steps; The final dedication (The Joy of Fairy Peace) is a warm and magnificent four-beat mixed singing for men and women. The dancer held Li Sheng and the sacrifice high. Go to Chanpen slowly, pray for the "goddess who stopped" to bless Kyushu and push music and dance to a climax. Finally, I gave all the gods a gift of kneeling three times and knocking nine times for the ceremony.
Setting and rehearsal of pickled books. "Halogen is given priority to with armour, so the enemy armour has the Wu department, and all the books are guided by the times, so it is called halogen book ears. According to the Han Dynasty, queens, concubines, princes and princes all had halogen books. (See Cihai Dictionary) The halogen book is basically based on the standard of 1994. They are: sweeping flag (2 sides), escorting Daikin (2 sides), warning signs (each 1), title tag (1 pair), Shenglong flag (1 pair), horns (4), golden melons and Jinbei. Ms. He Lixian, who is in charge of the rehearsal of the halogen book, leads the honor guard to perform seriously in the scorching sun every day, so as to achieve the majesty of the honor guard ceremony and the seriousness of the honor guard appearance. The marching angle is uniform, and walking posture is accurate and powerful. I don't know how much effort Ms. He has made and how much blood and sweat the players have paid! During the pre-sacrifice, when the flag, lamp, stove and secretary guide the main sacrifice and pay tribute to Mazu's holy book with the sacrifice, and under the protection of Sun Moon Fan and Jiuqu pholiota adiposa, all the audience present were moved by the solemn atmosphere of the emcee and etiquette staff around the sacrifice site. Really be "a halogen, so defend against the enemy."
The ceremony of Mazu 1040 anniversary has been announced, but the traditional cultural spirit of Mazu is constantly deepening and expanding. In history, it is the traditional cultural spirit of Mazu that unites the vast number of believers and becomes the spiritual pillar and infinite power to resist disasters, save the people, resist shipwrecks, help the war and defeat foreigners, and reduce demons and monsters. Mazu's lofty view of heaven urges Confucianism, Buddhism and Taoism to incorporate this folk belief into their respective religious systems. The so-called "psychic virtuous women", the so-called "Putuo exorcist incarnate in hundreds of billions", the so-called "gaining the symbol by peeping into the well" and the praise and seal of past dynasties have all played an important role in promoting Mazu belief and Mazu culture. Today, compatriots in Taiwan Province Province and overseas Chinese sincerely believe in Mazu and tell the beautiful story of Mazu's poverty alleviation, which undoubtedly conveys the excellent cultural tradition of our nation. Our festivals have undoubtedly played a positive role in communicating the thoughts and feelings of compatriots on both sides of the strait and overseas Chinese, adding a new era flavor to Mazu belief and Mazu culture. We say: Mazu is the goddess of peace in the Straits and the goddess of peace in the world.
2000.05.26
List of Sacrificial Ceremonies in Meizhou Ancestral Temple
Original: Cai 2000.4
Serial number 1 Zan Sing Bai (5')
Contents and requirements of various personnel activities
1. The statue of Mazu on the altar is placed stably, the table of the dragon case is clearly placed, and everything such as the incense table, sacrificial vessels and offerings is ready (the board of directors of the ancestral temple is responsible, and the above items should be prepared the day before the rehearsal of the ceremony).
2, all kinds of personnel are all ready before sacrifice, and wait at the designated place in advance (sacrifice).
3. On the bell and drum tower, three sides are full of drums, and the golden bell is ringing, and each level is from wide to tight, hitting 36 times.
4. With the bells and drums, lead Zeus (65,438+06 people) to form a four-person column, and the trumpeter (65,438+04) forms a horizontal line from the Imperial Gate to your Majesty Dan, and then stand in the designated position with Zeus, and then climb the altar of single pen. The spearman turned around and quickly ran back to the imperial gate to prepare for the salute at the designated spear position.
(Ignition position shall be determined separately)
music
No.2 Meizhou Ancestral Temple commemorates the 40th anniversary of Mazu's birth 1040!
( 10′)
1. The gunner should fire the spear 8 1 four doors at the designated position (the number of rings required to reach 8 1 clearly).
2. The guard of honor marched from the mountain gate to the altar in the order marked in the Orientation Map of Sacrificial Activities, and stood on the altar and both sides of the pen in turn after boarding the pen.
3. Le Sheng and Ge Sheng, led by Sheng Hui, marched to your Majesty Dan in a four-person column and entered the orchestra pit on the left and right sides.
4. Dancers arrive at Danyong (stage) under the leadership of festival students, and stand in an 8×8 square.
5. Yi Wei marched in a column of four, and after entering the Imperial Gate, he lined up in two lines and stood on both sides of Dan (the dance floor).
6, praise from the imperial gate to lead the main sacrifice, accompanied by sacrifices into the altar, the altar worship.
7. One of the ritual students led the worshippers into the altar from Zuo Xiangdian to stand in silence.
(Note: The above seven items were all carried out at the same time after Tong Zan announced the "start of the festival")
After the announcement of "the start of the festival", gongs and drums roared and firecrackers exploded:
During the marching of the honor guard, the big gongs beat continuously with two tight and two wide; The trumpet blares, and the big blow continues to blow (you can use Puxian Opera's "Get Through" music). The above noise will not stop until all the sacrificial personnel are in place.
No.3: Praise and sing the activities of all kinds of people and ask for music.
Meet god!
Li Sheng and Song Sheng shouted.
"Meet God!"
(2′)
1, Li Sheng and Song Sheng joined Zanbai and shouted "Welcome God!"
2. The audience looked up at the sky, separated their hands along the line of sight and shouted "Welcome God!" With the music and the smoke on the altar, all eyes are focused on the statue of Mazu on the altar from top to bottom (as if the holy spirit descended from the sky). Then put down your hand. Eight fairies came down leisurely from the height of the main hall with flower baskets, circled the field, covered with flowers, and then disappeared into the smoke.
3. Huisheng raises the flag to make music, and the singer sings.
On 4.65,438+0-4, the students lit incense and distributed 65,438+0 sticks to the chief priests, accompanying priests and worshippers. The chief priest took the incense, raised his forehead, put it down a little, and held it on his chest.
Music: Play and sing the movement of Meeting God.
Serial number 4 drink silk!
Read the news!
Kneel down! Lie down! Lie down again! Lie down three times! Promote/start/get up/maybe/last name/interest
(2′)
65438+
The priest gave a glass of wine.
3, the priest and so on use the praise password to make three knocks.
No.5: Playing Pinghai Music for the first time.
(3′33′′)
1. It is recommended that the priest wash the bathroom and four people wash it (two people wash dishes, 1 one person washes towels). The priest has been reset.
Students hold up banners, let musicians play music, singers sing, students hold up balls and let dancers dance. Some ceremonial dishes were received from your Majesty Dan, and the rest of the ceremonial students danced or danced around them, forming a pious and active dynamic picture and accepting titles at the main sacrifice.
3. After the priest received the knight's tribute, he gave it to the ritual student's box.
4. Dancers are born and accomplished.
Everyone should raise their hands and bow or kowtow three times.
The music played the movement of "Pinghai"
No.6: Praise and sing the activities and music requirements of various personnel.
Give a gift to Asia! Play peaceful music
(4′)
The activity is the same as before, the dance requirements have changed, and the rhythm is slightly faster. Second, offer birthday peaches.
Play "peace"
Line 7 is finally dedicated! Play salty music
(4′)
As before, music and dance need great motivation and a strong atmosphere of praise. The title flag of the honor guard moved to the climax of the ceremony.
Three sacrifices, birthday noodles.
Play the first flat movement.
Serial number 8 burn the letter and burn the silk! Send god! (three kneels and nine knocks), kneel! Kowtow and knock again.