Jinmen Dharma Drum is a traditional music and dance art of the Han nationality in Tianjin, which is performed in the form of old or holy meetings. In June 2008, the State Council approved the second batch of national intangible cultural heritage lists determined by the Ministry of Culture, and Jinmen Dharma Drum represented by Guajia Temple Qingyin Dharma Drum, Yangjiazhuang Yongyin Dharma Drum, and Liuyuan Xiangyin Dharma Drum were listed. Dharma Drum is a kind of entertainment activity that has been popular among the Han nationality in Tianjin for a long time. The word Dharma Drum originated from Buddhism and refers to the drum used for rituals in the Dharma Hall. Dharma Drum originated from the music played by monks and Taoists when performing rituals, and was later introduced to the people. The drum brands were created by the masses themselves and are full of local color. Jinmen Dharma Drum began 400 years ago, flourished during the Kangxi and Qianlong periods of the Qing Dynasty; declined during the warlords' melee and the invasion of the Japanese invaders; was destroyed during the Cultural Revolution to eliminate the four olds; and is about to die due to urban demolition and village disintegration. In the old days of Tianjin, Dharma Drum was often used to celebrate the harvest, the New Year, and performed at various festivals, annual meetings, and temple fairs. From the first day to the fifteenth day of the first lunar month, the sound of Dharma drums continued throughout the city, echoing with various flower fairs and lantern fairs. Dharma drums were also an indispensable accompanying music in the imperial meeting of the year, and they were majestic and prominent in the entire imperial meeting team. In the late Qing Dynasty and early Republic of China, when Tianjin Dharma drums were most prosperous, there were hundreds of Dharma drum associations in the urban area alone. By the last imperial meeting in 1936, there were still more than 30 Dharma drum associations participating, which shows its wide popularity among the masses. It is said that there were more than 130 Dharma drum associations in Tianjin in the old days. The Yongyin Dharma Drum Association of Yangjiazhuang and the Qingyin Dharma Drum Luanjia Association, located in Guajia Temple Street, are traditional folk flower fairs of the Han nationality in Tianjin. It is divided into the civil field and the martial field. The furnishings set up in the civil field mainly include: soft pairs, hard pairs, high lights, tea stoves, tea boxes, snacks and other props. Most of these utensils and decorations are inlaid with glass, decorated with paintings, reliefs, and carved flowers. They are finely crafted and beautifully shaped, and decorated with calligraphy and paintings of many schools. Each prop is in pairs and sets, and is equipped with matching wooden stands. When set up, they are arranged symmetrically and in an orderly manner. For example, at night, when the lights are on, the lights are bright, which is more magical and spectacular. Its martial arts field, commonly known as the "household field", mainly has performance props: drums, cymbals, cymbals, cymbals, and clang crotches. The drum is the first of the five tones. Under the leadership of the "drum", the first of all music, these instruments perform their duties according to the music score and the ci card. During the performance, the drums, cymbals and cymbals cooperate tacitly, and the drums and music sound together, which is quite spectacular. The Guajia Temple Qingyin Dharma Drum Carriage Old Association was established in 1731 (the ninth year of Yongzheng in the Qing Dynasty). Half of the carriage was given to Guajia Temple by the Empress of Chongzhen in the Ming Dynasty. The people of Guajia Temple established the Qingyin Dharma Drum Old Association during the Yongzheng period of the Qing Dynasty. It is a Dharma drum old association with exquisite props, superb performance skills and graceful dance movements. The Yongyin Dharma Drum Association is located in Yangjiazhuang, Guajia Temple Street, Hexi District, Tianjin. The Yongyin Dharma Drum Association shows the grand scene of the prince's outing. Generally, there are about 40 people in the association, and the group is divided into "civil field" and "martial field". The civil field carries the burden (mainly carrying more than ten tea stoves, dragon branches, snack boxes, clothing boxes, etc.), walks gently and slowly, with ups and downs in an orderly manner, and walks leisurely. The martial field (mainly using instruments such as drums, cymbals, and gongs) has a compact rhythm, passionate emotions, and a bursting atmosphere. Liuyuan Xiangyin Drum Association was established during the reign of Emperor Daoguang of the Qing Dynasty. It participated in various folk festivals in the late Qing Dynasty. It was originally a drum association for the "goddess" in the temple when they went out on tour. In front was the guard of honor, which consisted of the front color and the band, and was directed by the gong. The front color was the formation of daily necessities that people were warned to avoid and carry with them when the goddess went out on tour, including two gate flags, high-light, soft pairs, hard pairs, lantern boards, round cages, octagonal boxes, suitcases, tea barrels, tea stoves, wind lanterns, etc. Behind were drums, cymbals, cymbals, cymbals, clangs, big pictures, nine lotus lanterns, etc. There were 40 people holding hand flags to maintain the program, and 30 teenagers carrying stools for the performers to use when playing long songs. The costumes and props of this association were well preserved. Xiangyin Drum originally had ten sets of songbooks, and five sets were retained later. In the first month of the lunar calendar, the heads of various flower fairs negotiated and held a polite mutual worship with the theme of celebrating the harvest and the New Year. Then, on the third day of the third month of each year, when the goddess went out for a tour, several flower fairs gathered in Beicang. Xiangyin Dharma Drum was a follow-up fair in the imperial fair, so it was arranged on the left and right of the goddess's treasure chariot, set up and performed. During the flower fair performance, Xiangyin Dharma Drum's unique group of colored lanterns was beautifully displayed in front of the masses, forming a magnificent landscape of a long dragon formed by colored lanterns. Liuyuan Xiangyin Dharma Drum Fair is magnificent and spectacular, with the most rich Han folk cultural characteristics. The music of Tianjin Dharma Drum is composed of several different tunes (also known as "drum sets"). Each set takes about half an hour, and its tunes include "Xiangzi", "Yin Yang Fish", "Dragon Playing with Pearls" and more than 30 others. Among them, the most widely played ones are "Couplet", "Hydrangea", "Kiaomen", "Fuguitu", "Shanglei", etc. The instruments used in the Jinmen Dharma Drum performance include drums, cymbals, cymbals, gongs, and cymbals. The general configuration is: 1 drum; 4 pairs of gongs and cymbals; 6 to 7 pairs of cymbals and cymbals. During the performance, the drum is placed in the center, with the cymbals on the left and the cymbals on the right. The cymbals and gongs follow the drums or on the left and right, and they "sit and beat" face to face. At the beginning of the Dharma Drum performance, the drummer beats the drum three times in a row, "dong, ... The scores played include: "Whistle Drum", "Open Cymbals", "Fan Drum", "Yin Drum", "Long Line Point", "Shuo Point", "Shou Pin", "Jiao Men", "Hydrangea", "Couplet", "Pudongzi", "Phoenix Single Wings", "Shang Lei", etc. There are dozens of commonly used tunes (commonly known as "songs", "songs", "songs") including "Longxu", "Lao Hexi", "Yao Gu Tong", etc. There are two types of performances of Jinmen Fa Gu, one is "sitting and knocking" in a fixed venue, and the other is "guild" playing while walking. Its band consists of a big drum and several big cymbals, big cymbals, cymbals, and clangs. The number of people can be more or less, but they must be equipped in pairs. Its sound is vigorous and loud, and the rhythm is rich and varied, which makes the audience excited and uplifted. When playing, the big drum and the "head cymbal" next to it play the role of conductor. The whole set of music usually starts with a slow tempo, gradually turns to a medium speed, and then to a fast speed, and the last climax part ends with a fast tempo. The movements of Jinmen Dharma Drum Dance are mainly reflected in the up and down flying of cymbals and the turning of cymbals around the body. Different dance movements are changed through different striking methods of cymbals and cymbals. For example, when "striking cymbals vertically", you must open your arms to both sides and raise them horizontally, so that the cymbals fly on both sides of the body. This forms the dance posture of "one-word cymbals". Another example is that after the double cymbals are "rubbed", the opposite forces make the cymbals rotate in the hands, forming a golden and dazzling "turning cymbals" movement. Movements such as "double split cymbals", "rolling curtains", and "wrapping the top" are all developed and changed into dance movements through different striking methods of cymbals and cymbals, which produce different forces. Since Dharma Drum was originally derived from the music of Buddhist and Taoist rituals, its dance movements have not only developed and changed from the striking movements, but have also been subtly influenced by religion. For example, the action of "carrying rice" can be said to be directly transplanted from the "meditation mudra" of Ksitigarbha Bodhisattva in Buddhism; the "tower-holding style" evolved from the "reception mudra" of Sakyamuni Buddha. In addition, the performers of the Dharma drum also draw creative materials from the daily life of the people, such as creating actions such as "stacking money", "picking up money", "scattering money", "single cymbal flashing", and "double cymbal shaking". The performers of the Dharma drum wear hat lining, Chinese robes, white cuffs, black jackets, blue Chinese slacks, and round-toed soap shoes. The artists use the cymbals and gongs in their hands to dance up and down with the magnificent and shocking music. The key to the action is that the legs cannot move, only the knees are bent and straightened continuously and the waist is swung in multiple directions. The cymbals dance moves one after another, the cymbals flash and fly in the hands, the cymbals tassels flutter in the air; the cymbals twist and turn around the body, bending and stretching, the golden light is dazzling, and it feels like the divine power is hard to shake and the magic power is boundless. This is the most attractive scene of the Dharma drum performance, which is called "flying cymbals entanglement" by the people. When the "head cymbals" are raised with both hands, it marks the end of the whole song performance. The founding of Tianjin Dharma drum is at the same time as the establishment of Tianjin Wei, so it contains distinct urban cultural elements. The performance is solemn, the decoration is luxurious, the number of people is large, and etiquette is respected. It is a folk art form with a distinct urban style. Its uniqueness is reflected in: regional uniqueness (unique to Tianjin city and suburbs); uniqueness of skills (combination of music and dance): elegance of music (five tones in a row); mightyness of dance (dance and martial arts are integrated); luxurious decoration (fine carving); large team (there are more service personnel than performers). It is these characteristics that constitute the urban style of Tianjin Dharma drum. The performance has a solemn phase (standing posture), a mighty phase (dancing posture), and a calm phase (expression). Its religion and folk customs are integrated and appreciated by both the elite and the masses. It is solemn and luxurious, and has a grand and warm ceremonial style. It has the characteristics of the unity of royal style and religious style. The style of Tianjin dance is in the Dharma drum, which has the obvious characteristics of Yanzhao culture. It has formed a dominant position in farming culture (closed and continuous) and marine culture (open and inclusive), and has elements such as canal culture, immigrant culture, gang culture, colonial culture, and modern culture. It combines the connotation of Tianjin regional culture and the characteristics of urban culture and has influenced the development of folk dance.