Yingge Dance (also spelled Ying Ge), also known as Yangge or Yingge, originated in the mid-Ming dynasty. It is a form of Chinese folk square dance in the region of , integrating elements of Southern-style and into a unified local art form. It is especially popular in the Chaopu-Huilu area (, , , and ). Performers wear face paint representing , or carry cudgels or hand drums, forming and transforming various formations in rhythm with the drums. The performance style is bold and vigorous. On May 20, 2006, Yingge was inscribed into the first list of 518 items of ChinaâÂÂs National Intangible Cultural Heritage.
There are various theories about the origin of Yingge, including its relation to the Water Margin, the origin theory, the idea that it came into Chaoshan via Putian from Shandong, the theory, the martial arts training theory, and a comprehensive theory. However, the earliest period is generally believed to be the mid-to-late Ming dynasty. The source cited is from the Qianlong era of the Qing dynasty, by and in the "Chaozhou Prefecture Gazetteer," volume twelve: "In spring, farmers transplant rice seedlings in groups of dozens, with one person beating the drum; at each drumbeat a round is made, and people sing in competition continuously for days, called Yangge. This is an unplanned gathering." This description of the performance style differs greatly from today's Yingge. Moreover, from local chronicles and even folk bamboo poetry, especially records related to Lantern Festival customs in Chaozhou, it is often mentioned as being "no different from Zhongzhou." Nevertheless, it shows that the most common folk art among the Han people at that timeâÂÂâÂÂwas very popular in the modern Chaoshan area. During the Jiaqing and Daoguang periods (1805-1825), local theaters often performed dramas related to the , such as "The Attack on Daming Prefecture." Additionally, the costumes and face paint used in current Yingge troupes closely resemble theatrical styles, clearly showing the influence of drama.
âÂÂThe table below lists selected Yingge dance traditions that have been officially recognized as intangible cultural heritage. It shows the level of recognition, the year and batch of inscription, and the associated representative inheritors, reflecting the distribution of Yingge dance across different regions.âÂÂ
In this context, âÂÂtypesâ of Yingge dance are classified primarily according to rhythm, tempo, and cudgel technique, focusing on differences in performance structure rather than regional or stylistic variation.
Yingge dance is categorized according to rhythm and tempo into Slow-tempo Yingge, Medium-tempo Yingge, and Fast-tempo Yingge.
Performers hold a Yingge cudgel slightly longer than in other types, approximately 60 cm. The cudgel striking rhythm is usually coordinated with the sound of gongs and drums in sets of three or four movements. Each strike of the cudgel is accompanied by a specific action. This type of Yingge is mainly concentrated near Miancheng, Chaoyang District. Performers do not use face paint representing heroes such as Song Jiang or Shi Qian. Its style is simple and rustic and is considered the earliest form of Yingge.
The cudgel used in Medium-tempo Yingge is approximately 57 cm long. Its rhythm is faster than that of Slow-tempo Yingge, with strikes organized into sets of five, seven, eight, ten, eleven, or thirteen movements. Performers do not use the âÂÂSnake Dancerâ (Shi Qian) face paint. The movements are primarily based on the âÂÂDa Zhan Maâ stance from Southern Fist martial arts.
Fast-tempo Yingge uses the shortest cudgel, approximately 40 cm long, and features the fastest rhythm, emphasizing rapid striking and retraction. There is no fixed cudgel striking pattern; instead, it exhibits a more flexible and dynamic performance structure. Fast-tempo Yingge can be further divided into subtypes such as Jianshan Yingge, Nanshan Wen style, Nanshan Wu style, and paired-combat forms.
The number of performers in a Yingge troupe generally depends on the number of men in the village. It is always an even number, at least 16, and no more than 108. Commonly, there are 36 members, known as the "Thirty-Six Heavenly Spirits," or 72 members, known as the "Seventy-Two Earthly Fiends." Performances are divided into and . Modern Yingge usually refers to front stage performances, as rear stage performances are mostly discontinued. The content mainly depicts heroes from disguising themselves to attack Daming Prefecture to rescue , or to rescue from execution. Currently, performances are primarily based on the former. Troupe members strike Yingge cudgels or hand drums in rhythm with the gongs and drums while continuously changing their dance movements and formations to form various patterns and express different emotions. After the front stage performance, the rear stage would include opera and martial arts demonstrations.
The Yingge facial makeup can be divided into the following two types:
A Yingge troupe typically includes two lead dancers: the red-faced, red-bearded âÂÂFirst Hammerâ (tou-chui), often dressed as or ; and the black-faced, black-bearded âÂÂSecond Hammerâ (er-chui), portrayed as . Additionally, the âÂÂsnake dancer,â representing , mainly assists with directing the performance. Some troupes may also include a âÂÂThird Hammerâ as and a âÂÂFourth Hammerâ as . The drummer is usually portrayed by or , which is the most common facial makeup. In some Yingge troupes, a performer carrying a command banner may appear as ; these roles are relatively fixed and familiar to the audience.
Facial makeup is generally applied by the performers themselves, except for more complex designs where makeup artists or fellow actors may assist. Before applying makeup, the face is cleansed, and a two-inch-wide black cloth band is tied tightly around the head to pull the hair back (âÂÂtightening the head,â known in the Teochew dialect as âÂÂhead scarfâÂÂ), helping smooth the facial muscles. For martial characters, the makeup is painted directly onto the face (âÂÂoutline paintingâÂÂ), while civil characters first rub a base color evenly across the face using their hands before painting the eyebrows, eye sockets, nasal contours, mouth corners, and cheeks, followed by facial lines. The order of coloring is also fixed: black first, then white, and finally other colors. Since Yingge performers portray the outlaws of Mount Liang, many characters wear full beards to embody the rugged heroic image, with specific beard styles assigned to particular charactersâÂÂfor example, Lu Zhishen uses a âÂÂcurling beard.â Some performers may even go shirtless, painting patterns directly on their upper bodies. As for the female roles in the troupe, they are traditionally portrayed by men.
Yingge dance music consists only of rhythm, without melody. Different types correspond to different gong and drum rhythms.
Instruments used by the percussion team:
Yingge dance movements include formations, footwork, body techniques, hand techniques, finger techniques, and eye techniques, with footwork being the most important as it drives all other techniques.