Folkloric Analysis
Categories:
Fanbai has aspects of both the verbal and customary categories of folklore. The words of Fanbai chant are primarily exclusively of Sutras, which are the set of texts considered to be canonical by a specific sect of Buddhism. Most of these are stories, myths, legends, and wisdom either directly from Gautama Buddha, about the Buddha from people who lived in his time, and in the case of Mahayana Buddhism, other prominent teachers and Buddhas. These sutras often tell stories about the Buddha either to glorify his deeds and character, directly relay his wisdom and teaching, or tell stories of how he taught others in order to indirectly teach listeners/readers. There are also numerous wisdom sutras in the Mahayana canon by other teachers which have become especially prominent.
There are concrete frameworks for the chanting of sutras both in terms of purposes and tonalities/rhythms. Most scripture recitation makes use of a form known as free chant. It is typically sung solo and has no preexisting melody, tonality, or rhythm. It is meant to be improvised in order to develop a personal relationship with the text. Praises and Gathas provide a contrast to free chant, as they have a set melody and rhythm. Some sutras also have chants of this type. The rhythm is typically written down along with notation for non-melodic instruments such as cymbals and other percussion instruments, but the melody is taught orally. Gathas are typically on the topic of the principal of the scripture and the virtue of the Buddha, and Praises honor the Buddha and other Bodhisattvas (other enlightened Buddhas besides "the" Buddha, Gautama Buddha). These types of chant can be done solo or more commonly in groups.
The folkloric value of Fanbai rides on top of the folkloric value of the texts themselves. I will not attempt to analyze them on their own here, as they are incredible in number and diversity. For all the other value and functions of Fanbai, the preservation and teaching of these texts is important to remember as well. It is a Buddhist belief that most people are made ignorant of what is truly important by being born into our material world, and that teaching the Dharma, often through these texts, helps to break through this ignorance into a more enlightened state. Exposure and engagement in these texts also helps to engage the mind in pure thoughts and actions. Therefore the preservation and distribution of the Dharma is extremely important to Buddhist communities. Chant serves this purpose both within the Sangha and outside in the larger lay Buddhist community.
Functionalist Analysis:
Of William Bascom's 1965 four functions of folklore, categories 2, 3, and 4 have some basis within Fanbai. Category 2, escaping accepted limitations of our culture, finds some basis in the free chant style of Fanbai. This improvised style of chant allows members of the Sangha to develop a personal relationship to the scripture, but also allows for an amount of freedom and emotional expression uncommon in other aspects of Sangha life. Music in the popular sense is also forbidden to the Sangha, and chant walks the line between song and speech. Category 3, maintaining cultural identity, is fairly self explanatory. Participating in or listening to chant can create a sense of community and belonging. In certain offshoots of eastern Mahayana Buddhism, chant and some types of Buddhist music are even used as an evangelical tool. Category 4, validating existing cultural norms, is also somewhat self explanatory, as the scripture is the basis for the rules, norms, and many cultural features of the Sangha and even lay Buddhist communities.