Oral Traditions of China

(传统说唱艺术的魅力)

4 min read

 

Oral storytelling has played a significant role in the development and preservation of civilizations worldwide, serving as an essential means of transmitting knowledge, cultural values, and historical narratives to the general public before the advent of mass literacy. This tradition, marked by vast regional diversity, encompasses various forms such as myths, legends, folktales, and epic poetry. In the West, notable examples include the Iliad and the Odyssey from ancient Greece, the Aeneid from ancient Rome, Beowulf from Anglo-Saxon England, and the Song of Roland from medieval France.

 

China’s oral storytelling traditions form a rich and diverse part of its cultural heritage, encompassing a wide range of forms and styles practiced by both the Han people and the country’s many ethnic minorities. Traditionally, storytelling took place in markets, temple fairs, teahouses, and wine shops. Among the Han people, Pingshu (评书, opening image) has played a prominent role in Chinese culture for centuries. In Pingshu performances, a storyteller narrates historical tales, legends, and classical literature, often using expressive gestures and vocal techniques to convey moral values and reinforce cultural identity. Popular Pingshu repertoire includes classics such as Romance of the Three Kingdoms (三国演义), Water Margin (水浒传), Journey to the West (西游记), and Legend of the White Snake (白蛇传). Beyond entertainment, Pingshu promotes interest in Chinese literature by making it more accessible to a broad audience.

 

A popular form of traditional storytelling in southern China is Tanci (弹词, image below), a musical genre that combines narration with sung verses and instrumental accompaniment. While Pingshu often focuses on historical epics and classical literature with an emphasis on moral instruction, Tanci typically centers on romantic and folk dramas, highlighting emotional expression and lyrical depth.

Oral storytelling has also flourished among China’s ethnic minorities. Distinct from Pingshu and Tanci, the storytelling tradition of the Hezhe minority (赫哲族) in northeastern China alternates between singing and narration, depicting tribal alliances, battles, and the defeat of monsters and invaders. As the Hezhe people have no written language, their oral tradition—known as Yimakan (伊玛堪, image below)—plays a crucial role in preserving their mother tongue, religious beliefs, folklore, and customs. Today, however, only elderly members of the community still speak the native language, posing a major challenge to the continuation of the Yimakan tradition. Hezhe Yimakan was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2011.

The Epic of King Gesar (格萨尔王传, image below), still performed today, originated between approximately 200 and 600 CE. The story of King Gesar—a central figure in Tibetan folklore and belief—reached its mature form and peak popularity in the early 12th century. Sung exclusively by Gesar bards who memorize vast poetic passages, the epic exists in numerous versions. Compilations to date fill approximately 120 volumes, with one of the longest versions containing more than one million verses across 29 chapters. The Epic of King Gesar was inscribed on UNESCO’s Intangible Cultural Heritage list in 2009.

The Epic of Jangar (江格尔, image below) consists of approximately 25 chapters of songs and poems that recount the legends of the Oirat Mongolian people. Centered on the heroic figure Jangar and his warriors in the mythical land of Bumba, the epic developed between the 15th and 17th centuries, during the Oirat migration to the Tian Shan Mountains (天山) in northern Xinjiang (新疆).

Manas (玛纳斯) is the legendary hero of the Kyrgyz minority (吉尔吉斯族) in Xinjiang, China. The Epic of Manas (image below), comprising roughly 230,000 lines across eight volumes, narrates the exploits of Manas and seven generations of his descendants. Performers known as manaschi regularly recite the epic at social gatherings, community celebrations, and ceremonies such as weddings and funerals. The Epic of Manas was inscribed on UNESCO’s Intangible Cultural Heritage list in 2009.

Ashima (阿诗玛, image below) is a long narrative poem of the Sani people (撒尼人), a subgroup of the Yi minority (彝族) in Yunnan Province (云南省). Originally transmitted orally from generation to generation, the poem tells the story of Ashima and her lover Ahei (阿黑), who rescues her from the son of an oppressive landlord. The narrative reflects enduring themes of love, resistance, and resilience.

In modern times, Chinese oral storytelling has adapted by incorporating contemporary themes and transitioning from live teahouse performances to radio, television, and online platforms, thereby reaching broader and younger audiences. Modern narratives often address events such as the War of Resistance against Japan and the Chinese Civil War, while martial arts tales and urban romances remain popular. These adaptations help keep traditional storytelling relevant while preserving its distinctive techniques, serving as cultural bridges between China’s past and present. They also reflect China’s broader efforts to balance modernization with the preservation of its rich intangible cultural heritage.

 

Photo credit: Baidu.com 

 

Additional resources for readers: