The history of “Gaosha Gongs and Drums” is long and profound. According to its ancestral records, it originates from the descendants of Bi Gan, a loyal minister of the Shang Dynasty over 3,000 years ago. Later, it was bestowed the surname “Lin” by King Wu of Zhou. During the Wanli era of the Ming Dynasty, one branch of the Lin family migrated from Nanjing County, Fujian to Guangdong. During the Qing Dynasty, they moved again to what is now Gaosha Village, where it has been preserved for nine generations. The first generation of “Gaosha Gongs and Drums,” initiated by Lin Heshi, was performed for nearly 300 years and was deeply loved by the local community. In 1958, during the founding of the autonomous region, “Gaosha Gongs and Drums” represented Liuzhou City in the regional folk art performance and won second place. On January 7, 2006, it was officially included in the first batch of intangible cultural heritage of Liuzhou City for protection.
As a form of folk art, “Gaosha Gongs and Drums” embodies both the ancient charm of folk life and the uniqueness of past ritual customs. At the same time, it clearly reflects the musical styles of ethnic minorities from other regions and incorporates local musical culture. Although its performance lacks the boldness of northern drums or the grandeur of large gongs and drums from the “Liǎngguǎng” region (Guangdong and Guangxi), it uses unique striking techniques—such as sound imitation, shape depiction, emotional expression, storytelling, and imagery—to reflect the liveliness of life. With rhythms that vary in intensity and tempo, it can deliver anything from the gentle flow of a stream and soft whispers to the sudden force of a storm, lightning, and thunder, offering a powerful musical and artistic experience. It deeply expresses their love for life, pursuit of peace, and resilient spirit in the face of hardship.
Like many forms of folk art, “Gaosha Gongs and Drums” is passed down orally from master to apprentice through generations. Its ability to self-preserve is inherently fragile, and with the emergence of many objective factors, it now faces a critical situation: aging performers, lack of successors, insufficient funding, weak protective measures, and a shrinking audience. Currently, relevant departments in Liuzhou City and the Liunan District government have actively formulated preservation plans, striving to rescue this valuable intangible cultural heritage.
Key Values
“Gaosha Gongs and Drums” holds a prominent position among all folk percussion ensembles in Liuzhou. As an outstanding form of folk music, it has been passed down for hundreds of years to Gaosha Village in Xie Village, enduring many challenges, and remains cherished by the local people to this day. This is inseparable from its significant value:
(1) Academic Value
As a form of folk art, “Gaosha Gongs and Drums” not only showcases the unique characteristics of ancient folk life, ritual customs, and harvest celebrations but also continuously absorbs local and external cultures, blending native and foreign musical elements. It provides valuable insights for studying the artistic essence of Hakka music, the migration and development history of ethnic groups, and understanding local folk customs.
(2) Practical Value
For a long time, “Gaosha Gongs and Drums” has been highly popular locally. Its use has expanded from originally being limited to ancestral worship and commemorative activities within the clan to everyday events such as weddings and festival celebrations. Sometimes, during the winter idle season, people joyfully play the gongs and drums to celebrate the harvest. As a result, “Gaosha Gongs and Drums” has become an important form of mass culture that meets people’s growing cultural needs. Not only is it embraced within the village and community, but neighboring areas also invite them to participate in celebratory and ceremonial events. It plays a vital role in the spiritual civilization construction of the village (community) and even the Liuzhou region, enriching people's cultural lives, improving their quality, promoting well-rounded personal development, building a new socialist countryside, and more.
(3) Artistic Value
Centered around the drum and accompanied by various instruments, it reflects both the depth and elegance of ancient times and the liveliness of the present. “Gaosha Gongs and Drums,” through careful observation of objective aspects of production and daily life, employs techniques such as sound imitation, shape depiction, emotional expression, meaning conveyance, and storytelling to reflect life, providing a high level of artistic enjoyment.
1. Unique Charm: Although “Gaosha Gongs and Drums” lacks the boldness of northern drums, it possesses its own distinctive charm. Its playing methods are highly varied, with complex rhythms and more than ten types of drum beats. The commonly used ones include ten types: “Smooth Sailing,” “Second Blooming of the Plum Blossom,” “Prosperity of the Three Rams,” “Wealth in All Four Seasons,” “Blessings in Five Directions,” up to “Perfect in Every Way.” Its mood can be as gentle as a flowing stream or soft whispers, or as fierce as a storm with lightning and thunder. The sound of the instruments displays the distinctive features of music from the southern Fujian region.
2. Distinct Rhythm: Although “Gaosha Gongs and Drums” lacks melody, it excels in sound and rhythm. Through the close coordination of various percussion instruments, it enhances rhythmic variation, alternating between light and heavy, slow and fast, from calm to intense and even pushing toward climax. It does not feature the large drums and gongs of the Liǎngguǎng region, nor does it have the deep, resonant sound of Guangdong lion drums. However, using barrel drums, flat drums, small cymbals, and small gongs, it conveys a delicate tone and a mild character. Without dramatic fluctuations, it expresses rich emotions through subtle changes.
Lineage of Inheritance
Lin Jipeng, male, born in 1936, is a farmer from Gaosha Village, Xie Village, Taiyang Town, Liunan District, Liuzhou City. He developed a love for gongs and drums in his youth but never had the opportunity to learn. He began studying to become a drummer in 1956. His grandfather was one of the members of the “Babao Association” in Guangdong. Later, he moved with his grandfather from Jiayingzhou, Guangdong (today’s Meizhou) to Gaosha Village, Xie Village, Taiyang Town, Liunan District, Liuzhou City, Guangxi. Influenced from a young age, he grew particularly fond of this folk art. Together with several enthusiasts in the village, he formed an amateur “Gaosha Gongs and Drums” performance team, often playing during farming breaks, rituals, and wedding celebrations. Thanks to their unique performance style, they quickly gained fame throughout Liuzhou. In 1958, during the founding of the autonomous region, they represented Liuzhou City in a performance competition and won second place. Unfortunately, during the Cultural Revolution, “Gaosha Gongs and Drums” were banned as part of the “Four Olds.” It wasn’t until after 2000, with the encouragement of a few old friends and the support of local government departments, that they re-established a gong and drum team and officially named it “Gaosha Gongs and Drums.” To this day, he continues to research, innovate, and study, determined to pass on this nearly lost folk art to the younger generation.
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