The history of the development of Teochew folk ballads as the title Thank you!

The New Culture Movement in China at the beginning of the 20th century brought the long-dormant folk ballads into the hall of literature. At that time, Liu Fengnong, Shen Yinmo, and Zhou Zuoren of Peking University initiated the collection of ballads, set up the Ballad Research Society, and published the weekly Ballad magazine. Many radical folklore scholars were also involved in the collection and printing of folk ballads, such as Zhong Jingwen's A Collection of Hakka Love Songs and Gu Jiegang's A Collection of Wu Songs. Affected by its influence, Chaozhou educated people Qiu Yulin, Jin Tianmin, Lin Peilu are soon also compiled a collection of Chaozhou ballads. In order to promote Teochew culture and preserve the Teochew folklore of a particular period, Jin Tianmin's book "Teochew Songs" has recently been reprinted by his descendants, which is a rare reference for the in-depth study of Teochew folklore and culture, and for the search for the trajectory of the spread of Teochew ballads. The preface of the new edition of Teochew Songs says, "This is the first collection of Teochew ballads officially published by a bookstore." As far as I know, in April 1927 Zhou Zuoren had already written a preface for The Collection of Teochew She Songs compiled by Lin Peilu, and the preface was included in Zhou's Talking Dragon Collection. It is not clear whether The Collection of She Songs of Chaozhou was published at that time. Mr. Yang Fangsheng said in his book "Ballads of Chaozhou", "In 1927, Qiu Yulin, who graduated from Peking University and taught at Jinshan Middle School at that time, edited, organized and published the first Collection of Ballads of Chaozhou, which was called a work of rags in the wickerwork." Zhou Zuoren also wrote a preface for Qiu Yulin's book, but the preface was not included in his collection. Checking the Bibliography of Chaoshan Literature published by the Guangdong People's Publishing House, it fails to indicate where the book was published in that year. Jin Tianming, as a Shaoxing man who moved to Chaozhou, was able to pay attention to the collection and recording of Chaozhou songs, which is a remarkable thing in itself. Moreover, the compilation and publication of Chaozhou Songs is very close to that of Qiu Yulin's Collection of Chaozhou Songs, and many of the songs are not duplicated with each other, thus preserving more original materials in terms of the number of songs collected. As a matter of fact, the "Collection of Teochew Ballads" published by Guangdong People's Publishing House in 1958 was added, deleted and annotated by Qiu Yulin on the basis of the above two collections. Later, the New Collection of Teochew Folk Songs (1985) compiled by Chen Yi Wang Xiu and Chen Fang, the Annotated Teochew Ballads (1987) by Sun Shuyan and Wang Yunchang, and the Selected Ballads of Teochew (1988) compiled by Ma Feng and Hong Chao were all influenced by the two collections compiled by Qiu Yulin and Jin Tianmin. Jin Tianmin's Teochew Ballads is divided into four categories of ballads and proverbs, eulogies, she-songs, and appendices with twenty subheadings, and is intended to be read by children in the 1930s. Most of the modern Teochew ballads were composed and disseminated by women who were mothers, and the ballads were often used to teach children about life, with almost no love songs. For example, "I'm going to feed chickens with rice. Feed the chickens to call out to the country, feed the dogs to bark at night, feed the pigs to pay back the debts of others, feed the oxen to drag the plow and harrow, feed the pocket children to drop off the books, and feed the walking children to hire people to scold them." Teaching The Child Online about the characteristics of various animals during the labor of grinding grain. Another example is "On the first day of the first month, a new son-in-law comes to the hall. On February 2, the old mom goes to the temple. On March 3, the peaches and plums are enough for you. April 4, the peach and plum are enough for your arm. May 5th, the Dragon Boat is in the creek. June 6th, the sharp tandem, chiseling all around. July 7: Twisting the bird in the back and making eye creases. August 8, picking bean vines and pods. In September 9, the windbird breaks the line and walks halfway. October 10, new rice, swelling full of eyes ......" "This is a children's song in the form of a song to disseminate knowledge of life as the content of the ballad, fast-paced, simple sentences, read very smooth, in just a hundred or so words, not only to help children learn the numbers, but also to help children to recognize the seasons." (Yang Fangsheng, "Ballads of Chaozhou") The content of Chaozhou ballads reflecting labor and women's life accounted for the largest proportion, and there are also some narrative, satirical and comical ballads included in the Chaozhou Songs, which made this book more humanistic and folklore value. Teochew ballads are folk oral literature, and there are many techniques of expression in art. One of the most commonly used is the rising and repeated sighs, which can be said to be in the same lineage with the oldest folk songs in China in the Book of Songs, still citing one of the "Chiu Chow Songs" as an example: "Green Bamboo Green Bamboo Branches, Green Bamboo planted in the river soil dry. Wuniang is sitting on the top of a green bamboo, hanging thirsty Chen San on the roadside. The green bamboo is planted on the east side of the river. Wuniang sits on a green bamboo roof, and thirsty Chen San is on the roadside." Due to the limitations of the times, there are also some feudal dregs in the Chiu Chiu Song, such as fatalism, preference for men over women, and sarcasm towards the disabled, which also reflects the folk customs of a specific period. Due to changes in social life, there are fewer and fewer people chanting Teochew Ballads. Since Teochew ballads are already part of a dying culture that should be protected, there is still a need to organize and reprint the folklore works of an era like "Teochew Songs" in a planned manner. .com/news/dishi/chaozhou/lsxhmc/200303180557.htm (Nanfang.guangdong.com) 2003.3.17 From this article published by Nanfang.com, it is not difficult to see that in those years, Shantou governed the whole of the old Teochew prefecture. On the intentionally or unintentionally vilified, unauthorized change of the title of the Chaozhou culture and songs, the purpose is to curb the dissemination and transmission of the Chaozhou culture, the use of the Chaozhou culture to go to the state plus the Shantou unauthorized change to the "Chaoshan culture"! The Minnan language culture originated in the Minnan area of Fujian Province, and was passed down and carried forward mainly in partitioned Taiwan. However, the Taiwanese did not change Minnan culture to Taiwan culture because of this problem. Moreover, they have contributed a lot to the proper naming of the songs known as Minnan songs in the South China Sea. In contrast, Shantou was known as Teochew people, Teochew language, Teochew culture, Teochew songs, Teochew tea, etc. before 1958, and all of them were changed to "something" with Shantou by certain means! And the political policy of a specific period of time to say that Teochew culture belongs to the feudal dregs, such as fatalism, patriarchy, sarcasm to the disabled, etc., so as to advocate the "pseudo" "Teochew culture" dominated by the name of the region! The most detestable thing is to promote the culture of Chaozhou as the culture of Chaozhou city. And Chaoshan culture is the regional culture is the unity of the culture of the city that is too delusional. Time will give the Chaozhou culture a clean slate.

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