A Brief Analysis of Zhuang Folk Song Culture and Its Ethical Thought —— A Case Study of Tianyang County, Guangxi

Zhuang nationality, who lives in the subtropical region of southern China, mainly distributes in Guangxi Zhuang Autonomous Region, Wenshan Prefecture of Yunnan Province and Lianshan County of Guangdong Province, and is the most populous minority in China. Zhuang nationality has a unique culture. Since the Baiyue, Xi 'ou and Luoyue nationalities in ancient times, there has been the custom of singing fair. Zhuang language calls it "Gebu" and "Longdong", commonly known as "Gewei". The "Song Festival" is held on the third day of the third lunar month every year. Thousands of young men and women gather on the hillside or in the fields to sing folk songs, find their spouses with folk songs, or make friends with folk songs to convey harmonious and beautiful feelings between people. The construction of Xu Ge culture has become a special form of poetry culture.

? Different scholars have different views on the origin of folk song culture. Scholars agree that Zhuang folk song culture is a national tradition formed on the basis of Zhuang's long-term social production and life practice. There are two main views on the origin of Zhuang folk songs. The first is the theory of pairing marriage. According to the theory of pairing marriage, the folk song culture of Zhuang nationality originated from the ancient activities of mate selection outside the ethnic group (pairing marriage system). People who hold this view mainly rely on relevant ancient books, relevant records and folklore in ethnic or local chronicles. The second is to entertain the gods. The idea of entertaining gods is controversial. Critics who insist on this view believe that Zhuang folk song culture originated from ancient folk religious beliefs. In order to meet the needs of production and life, the ancients usually prayed for the protection of the gods, so they praised the gods and entertained them with songs. Folk song culture originated from this. Critics who question this view believe that the folk song culture with love songs as the main content cannot be produced in the process of serious entertainment, and it is unscientific to explain the generation of folk song culture with religion. The above are two different views on the origin of folk songs in academic circles at present. Although the origin is not clear, academic discussion can indeed point out different research directions for us and promote our better progress.

The singing cultural customs handed down from generation to generation have become the unique culture of Zhuang nationality, and the typical representative is Liu Sanjie, a "son and daughter" singer, who is the symbol and image representative of Zhuang folk song culture. From a contemporary point of view, she is also a brand. In 1980s, with the reform and opening-up, the government designated Songzhuang Song Club as "Song Club on March 3rd". The annual song concert, sponsored by the government, is held in cities rather than rural areas, and combined with the economic and trade activities of reform and opening up, that is, a stage for singing with folk songs is set up by the economy and trade. Later, it developed into a widely influential "Nanning International Folk Song Art Festival", which pushed the folk song (song club) culture of Zhuang nationality to the world.

Folk song culture is widely distributed in Guangxi, especially in Baise area, with various forms of expression. Here, taking Tianyang County, Baise City as the representative, we will roughly explain the folk culture from childhood to adulthood.

? Tianyang County, Baise City, Guangxi Zhuang Autonomous Region, is a relatively developed area of Zhuang singing culture, with profound singing culture and unique Zhuang, Han and Yao folk songs, with Zhuang folk songs as the main body. There are three kinds of Zhuang folk songs in Tian Yang: Tianzhou folk songs, Gumeishan folk songs and Debao folk songs. The folk songs of the three ethnic groups all reflect the cultural characteristics of their respective ethnic groups. As an important way of communication in the life of the Zhuang people, folk songs are an important reason for the prevalence of various ballads and customs. Singers' experience in learning and teaching songs reveals the traditional folk song inheritance mode of "edification+oral transmission+songbook+tempering". The motive force of inheriting folk songs in traditional society embodies the theory of "reward and punishment" in society: observing cultural norms is achieved through positive rewards and negative punishments as social control means, thus forming "cultural compulsion", and it is the change of society and times that leads to the change of "cultural compulsion", which is an important factor that makes the inheritance of folk songs in trouble.

? Tianyang County is located in the west of Guangxi Zhuang Autonomous Region and the middle reaches of Youjiang River, with a total area of 2,393.82 square kilometers. It governs 15 townships and 152 administrative villages with a total population of 330,000. There are Zhuang, Han, Yao and other ethnic groups living in the territory, of which Zhuang accounts for about 90%. There are three landforms in the territory: plain platform, hills and mountains, which are low in the middle, high in the north and south, narrow in the east and west and wide in the north and south, and are known as "two mountains and one valley". The southern rocky mountain area is karst landform, and the northern Tushan area is sandy shale landform. There are 12 rivers in the county, mainly Youjiang, which flows through 6 towns from west to east. Tianyang County is located in the low dimension, near the Tropic of Cancer, and belongs to the subtropical climate of South Asia, with abundant sunshine and heat, with an average temperature of 18-22℃ and a frost-free period of 307-352 days, which can meet the needs of crops in three seasons a year. Under such natural conditions, Tian Yang has developed agriculture, is a national commodity grain base county and a southwest vegetable base, is rich in mangoes, is the largest mango production base in China, and is known as the "hometown of mangoes in China". With the development of agriculture, Tian Yang has become one of the first poverty-stricken counties in Baise old revolutionary base area.

? Before the Tang Dynasty, the Zhuang area, especially the western Guangxi generation, was still in the social state of the end of the primitive clan tribal system. The ancestors of Zhuang nationality are farming tribes, scattered in the mountains and hills. The closed natural economy and natural traffic obstacles not only lack external communication, but also have no close relationship with each other. "Often the head of a family is king, and it is impossible to remotely control it." This long-term and stable social form makes the disintegration of Zhuang primitive society very slow. After Qin Shihuang unified Lingnan, Guilin, Nanhai and Xiang Jun were established, and Tian Yang belonged to Qin Xiangjun. Emperor Wu of the Han Dynasty pacified Zhao Tuo, king of South Vietnam, and established a relatively strict county system in Lingnan. Tian Yang is a big grain-producing county. During this period, although the central government strengthened its rule over Zhuang areas, it still did not reach the level of direct rule, so it could only adopt the governance measures of "ruling by its past" (Zi Jian, Volume 2 1); During the Eastern Han Dynasty, the central government "consoled" Lingnan minority areas, which was the beginning of the system of consoling. Before the Tang Dynasty, the residents of Tianzhou were called "Liao people" and "Hunting people", and in the Song Dynasty they were called "Man in the Western Yuan Dynasty" and "Man in the Guangyuan Dynasty", also known as "natives". In the Song Dynasty, the court thought that the natives of Tianzhou were "strange in customs", "promiscuous in marriage", "killing ghosts" or "digging graves to hide bones" and so on, which were difficult to govern, so it set up Tietianzhou, implemented the local official system, and adopted the method of "ruling natives with natives". During the period of Song Chongning (1102-1106), Cenxiang led his troops to pacify the caves in Youjiang area (its organizational form was similar to that of tribes) and settled in Tianzhou, where a chieftain system was formed. Cenxiang was the ancestor of Cen local officials. From then on to the first year of Guangxu in Qing Dynasty (1875), the land was changed to stream. This ruling policy of "supporting leaders and making them stand on their own feet" makes the disintegration of the social structure and lifestyle of clan tribes in Tianyang Zhuang area very slow. The slow social process has affected the development of culture. Under this special historical condition, the traditional culture of Zhuang nationality in Tian Yang presents a strong primitive and simple color. These are embodied in totem worship, religious belief, literature and art, customs and habits. The closed geographical environment and slow social progress make the development of Zhuang culture in Tian Yang like a slow and stable river, which is an important factor for the relatively complete preservation of Zhuang traditional culture in Tian Yang.

? Tianyang County is the earliest county established in Baise area, with splendid and rich cultural resources of Zhuang nationality and strong ethnic customs. In 2002, Buluotuo cultural site was discovered in Ganzhuang Mountain, Tianyang County, which is considered as the birthplace of Zhuang culture. Tianyang county preserves many ancient and primitive Zhuang cultures, such as singing culture and Buluotuo culture. Zhuang people in Tian Yang generally like to sing folk songs, and their singing culture is developed. Li's Notes on Eastern Guangdong: "Both eastern Guangdong and western Guangdong are named after songs, and the toast in western Guangdong is especially popular." The life will, ideal pursuit, emotional communication, production knowledge, historical stories, moral norms, astronomy and geography, phenology and meteorology of the Zhuang people are all expressed and spread in the form of songs, which are self-evident and sung everywhere. People worship ghosts and gods and believe in Buluotuo. Buluotuo's myths, legends, ancient songs and Buluotuo's poems are widely circulated among the people. Every year, from February 19th to the 9th day of March, a large-scale Buluotuo sacrifice activity is held on Ganzhuang Mountain to form Ganzhuang Mountain Song Festival.

? In Tian Yang, Tianzhou folk songs are the most abundant and popular in the most extensive areas. Tianzhou folk songs are mainly popular in Tianzhou Town, White, Toutang, Yufeng, Kunping, Naman, Napo and other towns, covering the Youjiang River basin and Tushan area in northern Tian Yang. There are more than forty kinds of songs in Tianzhoushan, such as joyful songs, hymns, filial piety, Mulian folk songs, sworn songs and love songs. Fine tune, multi-purpose tone, relatively free sentence structure and rhyme, five words as one sentence, long and short sentences as supplements, regardless of content, the shortest sentence can reach dozens to hundreds of lines, and he is good at lyric. Such as "Qi Song": If you want to be a monk, you will be happy in Shan Ye; Happiness is the first month, and happiness is the early spring. It rains in March and rakes the fields in April; The couple are busy working and delivering food to the ridge. Another song "Ask for Towels": M: Today, the sun is as hot as fire. I have no towel to wipe when I sweat. It's too spicy to wipe with your hands. My sister sent a towel to my brother. Sister: I asked my sister for a towel, and my sister told me that the towel hung on the stars and the towel hung on the corner of the sun. If I want to, I will judge, and I don't want a stone to knock it down.

? Some folk songs are popular only because they are sung, such as some fairs and concerts, while many folk songs appear with or because of other folk customs. It is often important or meaningful to watch the time and occasions when Zhuang people sing folk songs, such as life etiquette such as birth, full moon, birthday, wedding and funeral, or a commemorative festival such as breaking ground, paying homage to the beam and burning like fire. At these times and occasions, people gather together. Many people communicate with each other, and folk songs, as the most expressive expression, have become people's first choice. Facts have proved that folk songs can express people's meaning and feelings better than words. The folklore of "Niangniangyan and Ganzhuang Mountain Song Club" has shown that folk songs have better expressive functions than words: Father Buluotuo accepts the birthdays of future generations and sings folk songs to express his incomparable joy. On such an important occasion, later generations also used folk songs to pour out their worries and communicate with relatives from all walks of life. In other words, folk songs have become the preferred means of communication in some important social occasions because they can fully express their feelings. For example, the specific songs sung in several stages of life etiquette are for communication and express the meaning that words can't express. It can be said that in the eyes of Zhuang people, folk songs are a more advanced expression means and tools than words. When people sing folk songs and dialogues, they enjoy the joy of exchanging ideas and the spiritual satisfaction they get after expressing their thoughts and feelings to the fullest. In the 2004 Spring Festival folk competition, a 28-year-old Yufeng female singer won the championship and took the stage to receive the award. She thanked the judges with folk songs and said that she won the prize with the support of the judges. Huang Dajia, then a judge, immediately responded with A-mei's well-sung folk songs, but she had her own level and had nothing to do with the judges. In this way, the two sang on the stage for 40 minutes just because of mutual praise and modesty, and finally ended reluctantly because of time. Singing culture is the culture of life experience. You can't enter that cultural state without entering that life experience stage. Culture is not only learned, but also the result of experience. Experience in concert, experience in dialogue, the more experience, the more understanding, the deeper love. In 2004, the image of an old singer from Tiandong at the Ganzhuang Folk Song Festival explained why the singers were infatuated and glued together, and the more they sang, the more energetic they became: "Fighting like an ox, I don't feel tired." This is the natural and true expression of Zhuang people's nature, and the passion of life is burning. Experience happiness in this burning. Singing has become a necessity of life. Zhuang people are constantly looking for opportunities to experience, their nature is constantly revealed in their lives, and their passion for life is constantly burning, so there are so many songs and customs in their lives.

? Through the analysis of Zhuang folk songs represented by Tian Yang folk songs, the inheritance and development of Zhuang folk songs have effectively strengthened the continuation of Zhuang people's national feelings, and played a positive role in promoting the inheritance of Zhuang national civilization, the reconstruction of regional Zhuang culture, the construction of advanced culture, and the development of tourism and cultural industries.