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Yingge · Questions and gaps

This is Volume 8 of ten in the Yingge feature. It gathers fifteen common questions — name, origin, headcounts, tempos, gear, occasions, roles and costume — and sets out what the volume still lacks.

Header texture: photo by Auongkinghe, CC BY-SA 4.0

Common questions

The fifteen below are not ranked; the order is the editor’s: from name and origin, through headcounts, tempos, gear and occasions, to roles and costume. This is not our search volume and not a count of how often things get asked — the site keeps no such statistics. The answers say only what this page and the official entries can support; terms are in the glossary volume.

A team performing at night in full costume, faces painted, sticks in hand
A team performing at night in full costume, faces painted, sticks in hand
A night performance in the ancestral hall, the floor full of dancers and onlookers
A night performance in the ancestral hall, the floor full of dancers and onlookers

Are yingge and yingge wu the same thing?

Yes. The formal item name is yingge; in common speech people say yingge wu; the official entry records other spellings — singing yingge, eagle song, parrot, yangge.

Why is it called yingge?

The official entry says it is “also called eagle song, parrot, singing yingge or yangge”; several spellings coexist and the common item name is yingge. As to why, the official text gives no etymology; a similarity of sound is not enough to settle it, so this page records the variants and does not rule.

Is yingge a form of nuo dance?

They are not the same item. Yingge and nuo dance are two separate national-level ICH representative items. There is a view that Yingge comes from nuo, and in 2024 the Journal of Guangzhou University (social sciences) carried a piece, “A query on ‘Yingge dance derives from nuo’”, examining it. Both stand side by side here and neither is ruled on.

Why is it called “China’s war dance” or “the living terracotta army”?

Both are recent promotional phrases, not scholarly designations, and neither appears in the early gazetteers. They come from the look of it: the ranks straight, the drum fast, the shouting loud.

How old is it, and where does it come from?

The official entry says “traditionally more than three hundred years”, and its origin is usually explained either as a variant of local martial custom or as a staging of Water Margin stories. The Chaoyang entry adds that by the Ming it had absorbed the northern big-drum yangge; the Jiazi entry says it came from Fujian in the early Ming and was improved by local martial artists in the late Ming. The accounts stand side by side with no settled answer.

How many in a team, and how long does a performance last?

Teams are even-numbered; the official entry describes team sizes ranging from 12 to 108 dancers, the Puning profile 24, 36, 72 up to 108. There is also the view that a full team fields 107 with Lu Junyi’s seat left empty — that comes from teams’ own accounts and from reports; the official page never writes 107, and it is not a rule every team follows (see Volume 1, “107 and 108 answer different questions”). Length is not fixed: the longest record measured for this page runs 8 minutes 19 seconds, no complete performance was found, and what is titled “full set” has mostly been cut.

Can women dance it?

The official entry says “performed by men”, which describes the traditional form. Contemporary women’s teams are numerous: the Ximen women’s team was founded in 1952, broke off for a time and resumed in June 2011; on the second day of the first lunar month 2026 the first women’s Yingge group in Puning came out.Volume 6 In the team table six names carry “women’s”; counting the Nanshan women’s group, seven.Volume 4 lists eleven from the records, and these seven are among them.

What is the difference between the front and rear sections?

The official wording: “the front section is the gong-and-drum playing and the Yingge dance; the rear section is short plays and speciality turns, each with its own character”. The front is the backbone; the rear depends on what a team can do, and the Jiazi route still has names for its rear-section plays. Only the two together make a performance — see the glossary.

How do slow, medium and fast differ?

The Chaoyang entry is the most concrete: the slow tempo uses a long stick, three or four strikes to a set; the medium strikes five or seven, also eight to thirteen, with the drum tapping continuously; the fast uses a short stick and a tight drum, and divides into the duelling set, the Nanshan civil school and the Nanshan martial school. They are not three speeds but three ways of playing.

How long is the stick, and why do lengths differ?

The rule gives a round stick 10 cm across and 20 cm long. The Chaoyang route divides by tempo: the slow tempo uses a long stick, three or four strikes to a set; the fast uses a short stick that moves freely. Puning divides into fast, medium and slow schools.

When can it be seen, and where?

Mostly in the first lunar month, going out with god parades, community sacrifices and temple fairs; dates differ by township and team, so the announcement for the year governs. The spread across the year is in Volume 5, When it is danced, and the god-parade dates are in the god-parade calendar.

How does it differ from Chaozhou opera?

Yingge is a square dance: it goes through streets and lanes, keeps time with ranks, paired sticks and drums, and does not sing. Chaozhou opera is a theatrical genre with role types, sung delivery and a stage. They are not the same kind of thing.

What is the lead stick?

The name of the leading role at the front of the line. Chen Laifa’s file records that he “became lead stick the following year” and moved to coaching in 1990, so it is a post within the team. What the holder actually controls differs by team and cannot be written up as a general director.

What is the second stick?

The position after the lead stick; a Puning account says the team “is led out by the head stick and the second stick”. None of the three official project pages defines it or describes how it stands with the lead stick. This page records the name only and adds no method.

Is there one standard face design?

No. The Puning route paints by the heroes of Mount Liang;Volume 4 records seven characters that can be identified. The same character carries different ground colours and patterns in different teams.

What this page still lacks

This page used to record three gaps: a comparison of how teams arrange a performance, the face designs, and the inheritors’ own words. In the October 2026 round each gained a layer, all of it in earlier volumes: the arrangements in Volume 2, the designs in Volume 4, Chen Laifa’s words in Volume 10. Below is how far each has got and what is still missing.

First: the names are in place, the team-by-team comparison is not. The list of teams is there: you can see which team is in which township, what it wears and when it comes out. The Chaoyang district standard of 2025 splits stick work into nine forms in two classes, fixes three kinds of step and seven basic formations, each with its positions written down; teams have their own names besides — Houxi reports the heavenly-spirits formation, the starry sky and two dragons bringing auspiciousness, Lingsha Temple reports the great figure of eight, two arrows through the clouds and the stars of the sky (see Volume 2). The Nanshan team divides a performance into eight passages and its head explains them clearly (Volume 10). What is missing is a comparison laid on one timeline: in the same kind of performance, how team A opens and how it changes tempo, and how team B does. Short video cuts exactly that passage out, so a record of a complete performance is needed.

Second: the rules are in place, the brushwork is not. Base, secondary and harmonising colours, the two methods of brushing and rubbing, the order of painting, the split between theatrical and ghost faces, the colours of the lead and second sticks — all have a standard to rest on (see Volume 4). This page used to carry two diagrams showing generic features — brushed faces, heavy colour, symmetry; the circle and two columns advancing — not any team’s design and not any performance’s positions. Neither is on the page now. The formation diagram was withdrawn in October 2026 because it did not match the seven sets of positions newly written in Volume 2; the face diagram came down for the same reason: it showed categories only and, left up, would be read as some team’s design. What is missing is precisely each house’s brushwork: how many strokes along the edge, how many daubs on the cheek. The standard does not say, and a long shot does not show.

Third: Chen Laifa has spoken, the other three have not. His words from interviews between 2023 and 2026 are recorded with sources in Volume 10: what the heart of Yingge is, how the eight passages are built, how many years a dancer studies, how the old rule was broken. No checkable interviews were found for Yang Wei, Lin Bingguang or Lin Zhongcheng, and this page does not speak for them.

The images are still missing. Photographs from elsewhere are not used to fill the hole — that would be putting the wrong hat on the wrong head. What is on the page is video frames, images from teams’ own accounts and a few shot by us; a full performance has not been filmed. This one does not go down as done: someone has to be there to shoot it.

← Previous volume: origins and disputesBack to the featureNext volume: the glossary →

Sources Type
Intangible cultural heritage: Chaoyang Yingge (DB 4405/T 315—2025)Shantou local standard, Shantou Administration for Market RegulationIssued 2025-02-24, effective 02-25 Local standard
Behind Yingge dance’s breakoutFarmers’ Daily (reprinted by China Economic Net)2023-06-06 report
Yingge (Puning Yingge)China Intangible Cultural Heritage Network / Digital Museum of China ICHNo publication date on the item page; announced in the first batch, 2006 National list entry
Yingge (Chaoyang Yingge)Ibid.No publication date on the item page; announced in the first batch, 2006 National list entry
Yingge (Jiazi Yingge)Ibid.No publication date on the item page; third batch, 2011 (extension item) National list entry
Publication of the revised protection units for national ICH representative itemsDepartment of Intangible Cultural Heritage, Ministry of Culture and Tourism2019-12-05 Ministry release
Puning Yingge DanceOffice of the Foreign Affairs Commission of the CPC Guangdong Provincial Committee (Foreign Affairs Office of the Guangdong Provincial People’s Government)2026-07-24(https certificate error; this link runs on http) Government website introduction
Reply to Proposal No. 20250334 of the Fourth Session of the 14th Shantou CPPCCOffice of the Chaoyang District People’s Government, Shantou2025-05-14(https certificate error; this link runs on http) Government information disclosure
Ximen Women’s Yingge Team, ChaoyangShantou Polytechnic, “Yingge dance” feature2025-03-06 College feature
“Once in a lifetime, you must see Yingge dance in Chaoshan!”China News Service2024-02-28 report

Access date: all eight items above were opened one by one on 23 October 2026 and were reachable that day. Two further team counts sit outside the table for want of a stable direct link: the Chaoyang team count in Southern.com, November 2024, and the Puning team count on the Puning municipal government site, January 2024; both are named in the text. The figures they record can be checked against two government documents already in the table (the Chaoyang district government reply of May 2025 and the provincial foreign affairs office’s July 2026 note on a visit), so the text sets the two accounts side by side and does not argue from the unlinked items alone. Two further pieces were read but not cited and so are not listed: the National Ethnic Affairs Commission’s “Dance drama Yingge: where the sticks rise, one family” (2026-08) and the Guangdong Department of Housing and Urban-Rural Development’s “Light and shadow on the hometown of emigrants”.

Last revised: 24 October 2026