What is the story of Qu Shaojin in history?

Qu Shaojin, the inheritor of the national intangible cultural heritage of Pizhou Bamboo Horse.

Qu Shaojin, the representative inheritor of the national intangible cultural heritage of Pizhou Bamboo Horse, is the place where Qu Shaojin was born, and it is also the place where Qu Shaojin and Bamboo Horse have a lifelong relationship. On the bank of Pizhou Bamboo Horse, Qu Shaojin Bamboo Horse is distributed on both sides of the Grand Canal in Pizhou City, Jiangsu Province, among which the bamboo horse on the beach is the most representative, which is the source of Pizhou Bamboo Horse. Running bamboo horses, in Qu Shaojin's family, has been passed down for several generations. At that time, his grandfather, his grandfather's name was Qu Yuling, his great-grandfather was called Qu Baocheng, and he didn't know it, Qu Yusheng was his father, and his grandfather used to be his grandfather, and this was also across the Tartars, and he gave us the surname Mei in the West Village of Tanshang Street, called Mei Fangju, and the two of them wanted to compete, and the East Bamboo Horse Club and the West One were all our own grandfathers who ran in the east, and he ran in the west, and ran very well. Influenced by the family, Qu Shaojin since he can remember, he envied those bamboo horses wearing beautiful clothes and waving bright dragon and phoenix colored flags. I heard that since he was 12 years old, he participated in this bamboo horse performance with his grandfather, and he himself loves this since he was a child, and his ancestors have been engaged in this activity. But today, things have changed, and getting used to each other has become a trend, which can make the Pizhou bamboo horse run by thousands of empty alleys can only become a residual image of the Pizhou people. You see that all of you are sleeping at twelve o'clock, and the crowd gets up, and as soon as the trumpet sounds, and the trumpet sounds, we will come, and we will get up and see. Zhang Jigui said: "So I am too involved in this performance, there are more than a dozen townships, to the Baji side to Suyang Mountain West Shelving, this side to the north, to Shandong, you are involved in all directions, big involvement." It involves all directions, involves a lot, and it means that today's running firecrackers have a wide influence, and now the description of old artists has become a historical landscape. But this year, Qu Shaojin felt that the opportunity had come, because of the epidemic, many young people in Tanshang Village did not go out to work this year, and Qu Shaojin, who was unwilling to run the bamboo horse, felt that this was a good time to make the bamboo horse popular again. For this reason, Qu Shaojin's family ran in the hope of bringing the team of bamboo horses together again. The first place Qu Shaojin came to the door was his old buddy, Zhang Rui, who used to be the head of the meeting. Looking for people, the main laborers, all go out to work, only those who are engaged in construction, and this one who is engaged in electric welding and runs a supermarket, these people can still be at home. Zhang Ruiyan: "Every year, if you can't eat or drink, he can still follow and sign up by himself, for example, if I don't come up, I will put it on the village or take a meeting, then I will go to my house, I can go, you have to call, then you can choose." Although he had doubts, Zhang Rui still fully cooperated with Qu Shaojin's idea, because he knew that Qu Shaojin's character was stubborn, and he always had to do everything he could to achieve it. Stationmaster Qu has stamina, but others can't do this. Gu Xin said: "I especially admire this inheritor, that is, the bamboo horse, he is so dedicated, he looked at it from the beginning, because this thing can not be completed by one person, it must be a team, and the team, there must also be a professionalism, you must be able to persevere." Zhang Jigui said: "In the later period of the Cultural Revolution, the stationmaster Qu came to himself to discuss this matter, that is, what does it mean, first select the talents, you have more than 200 people, divided into two or three groups, this old Tartar is several, you can't run away at once, you have to run evenly three times, and then the stationmaster entrusts it to himself." Qu Shaojin, Zhang Rui, and Zhang Jigui are a generation of old artists who are full of aspirations to revive their heroic style, but they also clearly see that young people leaving their hometowns to pursue their dreams not only means the loss of audiences, but also means the fault line of the actors, and it also means that after the cleansing of the economic tide, the values of young people have changed, and this is also the biggest distress of Qu Shaojin and their old artists. I can't find anyone, I can't find anyone, how much money do you have to give if you find someone, I want to go out to work, people leave to work, and you don't call people to come. It costs money to rehearse and run bamboo horses, and it costs money to re-purchase costumes and props, where does the money come from, and there are only two emergency methods, one is to borrow, and the second way is to use your own money to advance. Zhang Rui said: "Looking for people, people don't go, they don't think the money is enough, and then they say yes, I'll add money to you, which is very distressing." "I still have some savings in my family, and if I can get 180,000 yuan, I will want to build a house for my children and build a house for them. When the family is ready to build a house, they will turn it out, build this bamboo horse first, and then build a house later. At that time, I took 30,000 yuan and went to Suzhou to buy costumes and props. Qu then went to Suzhou to buy things, brought 30,000 yuan of his own money, went to Suzhou to buy a part of the first trip, the second trip, and then bought a part, and the third trip to buy all, and then we hit that began to break. Guo Rui said: "Fortunately, in this later stage, after we brought the funds for running bamboo horses, we cashed out some of the funds that this stationmaster originally advanced. Qu Xuanqing said: "When my grandfather started to make this thing, he was not for money, for money, he would not come out to do this thing, according to the current words, his grandfather can face the wrong at home, receive a retirement salary at home, very happy, our family is now four generations in the same house, very, very comfortable, but he now has to run east and west every day, every day to leave." But some onlookers, including Qu Shaojin's old buddies, still don't understand why Qu Shaojin's family threw away his wealth and desperately wanted to promote the bamboo horse. Why, you are willing to do it yourself, right, spend this money on this bamboo horse. Zhang Rui said: "I said it myself, I said that we are this age, you see what you do, can it, can it, he said that we can't throw away this intangible cultural heritage." "We run the bamboo horse, this prop, is the horse shell horse head, this horse head is also the most important prop in our bamboo horse, the production of this horse head is also quite complicated. But all folk customs, he is an activity for the behavior of the people in a region, it is actually the private life of a place, so in this private life, they are telling their own stories, which is why there are many bamboo horses all over the country, but the cultural system they nurture is different, because their organic growth model is not unified, then, Pizhou's bamboo horse, what is the internal mechanism of his formation, that is, war. When it comes to running bamboo horses on the beach, it has historical roots. "Pizhou Chronicles" contains, Shaoxing ten years (1140) August, Han Shizhong besieged Huaiyang, Jin people came to the rescue, Shizhong attacked in Lukou Town, Han Shizhong, a famous general of the Southern Song Dynasty, was on the beach to resist Jin, this deed was naturally widely praised in Pizhou, and thus evolved to run out of the horse. In Yang Naiqiao's view: "I think this historical question is very interesting, because history, it is a kind of cultural inheritance of memory, it is a kind of folk art phenomenon, it has a very long history, historical time-to-time transmission, then I think it is very interesting that if this activity is said to have survived some elements in the military culture in the early history of history, and it is folk, entertaining, and bringing it into such an activity as a farmer's ritual, expressing such a celebration of a specific festival, and at the same time." and gave an expression of his own faith. Obviously, in Qu Shaojin's view, the inheritance of intangible cultural heritage is not simply the inheritance of skills, but the most effective transmission of local knowledge with the help of skills. Although you are old, you see that Mr. Qu is over 70 years old, he is not like some old people, as if he is very conservative in his thinking, and he can't accept new ideas and new concepts, he is not like this. Anything, you can't always stay at a level, you will discuss with the cultural center, say we have to innovate, how to innovate, say that according to the original basis, on the basis of the original bamboo horse, these ten people, we have become twenty people, into thirty people, we are running in formation, the old formation is inherited, can not be lost, must run according to the formation. In addition, in order to cater to the modern people's thoughts, you can't achieve it, you have to innovate, you are still old-fashioned, playing gongs and drums, or those ten people running, no one watching, no one watching, that's not new. You have a lot of personnel, more than 30 people, more than 20 people, thousands of horses galloping, and the atmosphere is well rendered. Ma Duo runs, the momentum is a little more spectacular, and then the lineup is also relatively large, which makes people and the audience look like it, and it is more pleasing to the eye. In terms of time, you have to shorten it, you have to run according to the original running position, then you put it aside and sway, run a circle around it, that is very long, if you go to where the game is later, which tells you to get so long, give you three minutes and five minutes, then you really can't do it, no matter if you participate in the competition, you have to innovate, innovate. Qu Shaojin, first of all, expanded the cast of bamboo horses, at the same time, compressed the performance time, and more importantly, rearranged and screened the traditional formations, that is, the original sixteen formations were integrated into ten, so that their symbolic meaning was clearer and more ornamental. We run this, before, there are fifteen or sixteen kinds, and then I summarized it from 2006, rehearsal and dance, these sixteen kinds, some are repeated, some are very short, and a circle is a formation, that is not called a formation, you are like an oolong tail, dog tail circle, like a formation is also a formation, that is not good, now I give an induction, ten formations, from one to ten, a long snake formation, two dragons out of the water array, three immortals to lure the enemy array, four doors to the bottom of the array, five tigers looking for sheep array, six gods array, seven star array, The Bagua Serial Array, as well as this Nine Palace Array, this Cross Plum Blossom Array. Then, in the training of children's bamboo horses, Qu Shaojin boldly changed the accompaniment music, so that adults have a clear contrast, the biggest difference is the music, the music does not need gongs and drums, all use the symphony music, very good, very beautiful. Not only in the external form of running bamboo horses, Qu Shaojin tried his best to make it more characteristic of the times and more convenient for the transmission of local knowledge, but also in terms of the concept and attitude towards the performance of bamboo horses, Qu Shaojin broke the traditional inherent concepts, so that the folk art of running bamboo horses, which originated from the agricultural period, injected the color of the times.