Lishui Drum Lyrics, also known as "Liandu Drum Lyrics", has an unknown origin. It is a form of folk music art that is spread in Lishui City and its jurisdiction in southwestern Zhejiang Province and is sung in the Lishui dialect. The rap form of Lishui Drum Lyrics is usually performed by one person beating the drum board, accompanied by the "tang drum" and "qie". When singing, the singer sits down, holding the "qie" beat board in the left hand and the stick in the right hand to hit the drum. Before singing the original drum lyrics, the singer often uses drum beats to quiet the scene and then sings a "soup head", which is mostly a short piece of blessing, auspiciousness, warning, etc. Lishui Drum Lyrics are sung in the Lishui dialect. The origin is unknown, but it was extremely popular at the latest during the Jiaqing and Daoguang periods of the Qing Dynasty. According to the Lishui County Annals published in the 26th year of Emperor Daoguang’s reign in the Qing Dynasty, Tu Benren, the teacher of Lishui County (who served in Lishui County from 1805 to 1826), once chanted poems with the prefect of Chuzhou, Lei Xuehai, to celebrate the Lantern Festival and the worship of Madam Shunyi (Mrs. Chen Shisi), among which there are lines such as “composing poems and singing them to the blind, the gods and people are in harmony in the spring” and “the incense smoke is hung in the temples of the Fanli people, and the singing of the blind Zhigong”. In the Yunhe County Annals Customs Chapter in the third year of Emperor Tongzhi’s reign in the Qing Dynasty, there is an article “Miscellaneous Notes on Welcoming the Gods” written by the famous scholar Liu Xiangfeng in the county, which says: “There are people in the western part of Liyi who sing “Madam’s Ci”, and they narrate strange events, which are well known to the common people”. It can be seen that at that time, drum lyrics singing activities with “singing Madam” as the main content were very common in urban and rural areas of Lishui. By the 22nd year of the reign of Emperor Guangxu (1896), the drum-ci artists in Lishui County had their own guild organization, the "Guci Line" (also known as the "Madam Line"). When people prayed for blessings and good fortune, and got rid of diseases and evil spirits, singing "Madam Ci" had become a fashion. In the 15th year of the Republic of China (1926), the Lishui drum-ci industry was reorganized and revised its rules, stipulating that every July 7th, all artists in the industry must meet at the "Madam Temple". After the founding of New China, Lishui drum-ci was able to develop well for a time. In the early days of liberation, there were more than 70 drum-ci artists in Lishui County. The cultural department had organized learning and training many times, and created many repertoires such as "Three Generations of Vengeance", "Xiao Erhei Gets Married", and "White-Haired Girl", and carried out publicity and singing in conjunction with various movements. In 1950, the drum lyrics sang about overthrowing reactionaries and suppressing counter-revolutionaries; in 1951, the drum lyrics sang "Resisting the US and Aiding Korea"; in 1953, what could be heard everywhere was the elimination of superstition and the promotion of the Marriage Law. In normal times, most of the songs sung were traditional drum lyrics such as "Pearl Tower" and "Peony Pavilion" and local songs such as "Green Lake Scenery" and "Nine Dragon Whip" that the masses loved. During the ten years of the Cultural Revolution, culture was imprisoned, and Lishui drum lyrics were not spared. Artists changed their careers or lost their jobs. After the 1980s, a few artists returned to their old jobs and made a living by singing "Lady's Lyrics". Due to the different local accents in Lishui, different styles and schools have been formed. The different distribution areas also make Lishui drum lyrics have their own characteristics in each county and city, and are named after local places, which is a tributary of Lishui drum lyrics. Lishui drum lyrics have high ideological, literary and artistic qualities, and have high research value for the folk customs, parent religion, region and traditional culture of water. In 2014, it was included in the "Fourth Batch of National Intangible Cultural Heritage List"; in November 2019, it was included in the "List of National Intangible Cultural Heritage Representative Project Protection Units". (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)