Basic content of Liuzhou folk songs

Liuzhou folk songs are folk songs, and the essence of them lies in the lyrics. Therefore, we will declare them as oral literature. The basic contents of Liuzhou folk songs are as follows: Liuzhou folk songs include solo singing, duet singing, joint singing and other forms. Among them, duet is the most commonly used and distinctive form of traditional folk songs in Liuzhou. Duet singing, commonly known as duet singing, is a form of competition in which singers or chorus groups compete with each other to test their singing talents. Therefore, it has also become a song competition and an arena. It is highly confrontational and competitive and is usually held during a song fair. Song Fair is a traditional singing festival where Zhuang people gather regularly. It is also called Song Festival or Song Fair. The place where the song fair is held is called a song venue, and it is usually held on a hillside, riverside or at a location agreed by the singers. Their scale ranges from dozens of people to tens of thousands. It lasts from morning to night, even all night long, for several days. On every festive occasion such as March 3rd and the Mid-Autumn Festival, mountain singers and fans from all over the world gather together to hold a grand antiphonal singing competition called "Gange Fair". Before the song fair is held, singers invite each other to form a singing team. Usually, old partners who are familiar with each other and often sing together form a team, with each team consisting of three to five people. Liuzhou folk songs are all improvised and performed on the spot. There is usually a singer in the chorus who is responsible for composing lyrics and singing on the spot. There are also several singers who are responsible for singing antiphonal songs. Sometimes, singers also participate in antiphonal singing. Entering the song fair, each team chooses their opponent, sets up a formation, stands or sits opposite each other, and the crowd forms a singing field.

Formal antiphonal singing competitions have prescribed procedures. The opening song must be sung at the beginning. The opening song refers to the folk song sung by the singers before the formal song competition begins at the beginning of the singing competition. Every time singers get together to sing duets, and when they open the stage, they always sing a few polite songs that express friendship. Therefore, the opening song is also called a "courteous song." The content of the opening song is mostly about the singers expressing their joy at meeting each other and their love for folk songs. The singing atmosphere is harmonious and the emotions are sincere, and there is no lack of humorous ridicule. When new and old singers sing duets, the new singers will often take this opportunity to find ways to ask the old singers for advice, and the old singers will always do their part and teach the other party their singing skills without reservation. In the opening song, the singers often praise each other's singing talents. Their language is lively and lively, and sometimes contains some spicy metaphors. It is wonderful and interesting, making the audience laugh.

After the opening song, it entered the formal antiphonal competition stage. Traditional competition songs generally have no fixed format in terms of content, tone, etc. As soon as the competition song begins, the atmosphere in the singing venue immediately becomes tense and lively. In the song competition, both sides showed their sharpness and never gave in. Their words were humorous and their songs were quick and sharp. They tried every possible means to overwhelm the other party. This also shows the character of Liuzhou people who are unwilling to lag behind and dare to strive for the first place. Throughout the song competition stage, singing continued one after another, and the onlookers became on-site judges. Every time there was a highlight, the crowd clapped, cheered, and shouted to support the performance, and the mood in the singing venue was warm and joyful.

When the game song comes to an end, both parties will automatically sing the "breakup song". Under normal circumstances, the winner or loser of the duet is already known at this time, and the duel ends after a few minutes. The content is mostly about wishing each other good luck and making arrangements to meet again next time. The mood of the duet is peaceful and friendly. And if two teams are of equal strength, both sides will not let go of this last opportunity, but will use the remaining limited time to fully express themselves. In this way, you come and go, each using his own ability, and often climaxing in the final part, allowing the audience to feast their ears.

There is also a relatively unique form of antiphonal song called Pange. Its format is relatively strict. The lyrics are mostly seven characters and four sentences, with neat contrasts and parallelism. The content is all-encompassing, mostly focusing on familiar landforms, mountains and rivers, flowers, birds, fish and insects, as well as common sense of life and agricultural knowledge. Some also sing about historical figures, events and stories. Traditional Liuzhou folk songs are mainly sung in Zhuang and Liuzhou dialects, and are divided into two categories: "Huan" and "Jia".

1. "Huan" is a folk song popular in areas where Zhuang people live together. It is also usually called "Zhuang Huan" and is sung in Zhuang language. Its basic form is "Four Sentences of Joy", with each section of the song having five characters and four sentences. The lyrics have a unique rhyme, which is "waist and foot rhyme". That is, the foot rhyme of the first and third sentences and the waist rhyme of the second and fourth sentences. The melody is a repetition of a simple section, divided into two parts. When sung, the tone is simple, honest, high-pitched, and bright, with the characteristics of one word for one note. There are many variations of Huan, mainly including "embedded sentence Huan" and "Lejiao Huan". ", "long and short sentences".

When the embedded sentence is happy, three or two sentences are embedded in the five-character or four-character sentences, forming a "five-three-five" format. For example, "Every March, the weather is good, and the mountains and forests are beautiful; the flowers are blooming on the branches, and everyone praises them." Among them, "good weather" and "tender" are three embedded sentences. "Lejiaohuan" means to divide the first paragraph of the two paragraphs of "Four Sentences of Joy" into two couplets a and b, and (two sentences in each couplet) "tie" it to C and d of the second paragraph respectively. After the two couplets (that is, under the "foot"), three sections are formed. (See the picture "Legging for Joy")

This is a unique method of repeating lyrics, and the tune is a variation of three sections.

The lyrics format of Long and Short Sentence Huan is two sentences of seven characters plus two sentences of five characters, but the singing style is that the seven-character lyrics only have two bars of melody (in 2/4 time), while the five-character lyrics have three bars of melody.

Zhuanghuan is popular in Zhuang-speaking rural areas such as Liujiang County, Liucheng County, Luzhai County, and Taiyang Village in the former suburbs of the city. Since there are not many people who can speak Zhuang language in the city, Zhuang Huan is rarely sung in urban folk songs.

2. The other type is Liuzhou folk songs called "Jia" that are popular in urban areas where strong men and other ethnic groups have lived together for a long time. This is the product of the intersection and integration of cultures of various ethnic groups. When singing "Jia", the singer follows the custom of Chengdu and sings in the Liuzhou Chinese dialect. The tone is close to spoken language, which is easy for the masses to understand and is particularly attractive. The basic form of the lyrics of "Jia" is seven words and four sentences, with the first, second and fourth sentences rhyming or the second and fourth sentences rhyming. For example, "There is a vine on the top of the mountain, and the vine has twelve layers of flowers. We are willing to climb up, and let the vines break, rocks and landslides." Sometimes to strengthen the tone, it starts with a three-character sentence, such as "My sister is anxious, and I miss my brother." Frequent illnesses lead to tuberculosis; if you don’t believe it, go to my sister’s house and see that the pile of medicine residue is three feet high.” This forms the “three-word first” format with a structure of three, seven, and seven. There are also people who add various reflections to the lyrics due to their different moods in singing. When singing folk songs that tend to express emotions, such as love songs, they often add specific rhyme (thinking) words to the beginning of the song, such as using "Hey" as the pronunciation, and the sound goes from high to low, euphemistically and lingeringly. There are also those that add thoughtful words in the middle of the lyrics, such as "Pomegranate Green": "Shi (that) Liu (Wow) Qing (Li), ask my sister to marry (well) to ask for a bride (Li); sister, if you ask for a bride, then (Yeah) "A) recruit me (Li), who can (what) do (what) and (wow) be infatuated." When singing some humorous folk songs, some add local slang to each phrase as a complement to the lyrics. For example, "Deng Deng Tiao": "The stars in the sky (Deng Deng Hao) are bright and clear (Ma Xie Xie). Don't laugh at the poor (scattered kisses, my sister) wearing rags (Ma Ha), ten hand-made children ( "Dengdenghao" has long and short lengths ("Mah Xie Xie"), and the trees in the mountains ("Scattered Love My Sister") have high and low levels (Mahha)." These changes make "Jia"'s singing more lively, interesting, full of charm and local. The characteristics are more intense.

In addition to Zhuang and Han folk songs, Liuzhou also has folk songs in Dong, Miao, Yao and other ethnic languages. The cultures of various ethnic groups interact and integrate here, making Liuzhou folk songs richer in content and more diverse in form. Presenting a colorful situation. Liuzhou folk songs, as oral literature, have extremely high literary value. The purpose of its recitation is to express the expression, that is, to convey the thoughts expressed through vivid and vivid language, and to achieve a highly consistent resonance with the object of appreciation.

Like those who lament the misery: "It's difficult, a tube of white rice can cook nine meals; a long-necked gourd holds glutinous rice, it's easy to put it in but hard to pour it out."

It's also like talking about love. Friends: "The carp swung its tail when it saw the water, the brother's heart opened up when he saw the sister; the bee saw the flowers turning around, and the flowers saw the bees blooming."

Liuzhou folk songs include all the expression techniques in Chinese folk songs, Among them, Fu Bixing is the most prominent feature, which can be found everywhere in Liuzhou folk songs:

For example, Fu expresses one's heart directly: "Don't sing first, the third sister will not be free today; wait until next year's Mid-Autumn Festival night, I will sing with you for three more days."

Rubi is a metaphor, which also contains similes and metaphors. Simile: "Missing my sister makes me anxious. Missing my sister often leads to tuberculosis. If you don't believe it, go to my door and see that the pile of medicine dregs is three feet high." Metaphor: "There are only vines wrapped around trees in the mountains. How can there be trees wrapped around vines in the world?" If the vines are not wrapped around the trees, they will live in vain one spring after another."

Ru Xing used other things to convey his meaning, and finished the sentence: "A hundred birds fly over thousands of mountains, and they cry out about hardship; copper. The pig gallbladder is simmered in the jar, which is bitter at first and then sweet."

In addition, Liuzhou folk songs also have many inherent advantages of folk songs.

1. The language is vivid and vivid. The language in folk songs is vastly different from the written language of intellectuals. The language in Liuzhou folk songs is as familiar to singers as it is at their fingertips, but it is also vivid and appropriate, just right. The language of Liuzhou folk songs often draws on the flowers, trees, rivers, mountains and rivers in the natural environment, as well as the utensils and utensils used in labor. For example: "You can see the rice when you tap the millet, and you can see the heart of the sister when you peel off the skin of the lamp grass; you talk to your brother with a smile on your lips, and you look at others with squinting eyes."

2. Make full use of exaggeration to express the richness of the working people. imagination and romantic spirit. For example: "I got to see my sister that day, which caused my brother's soul to fly all over the sky; I invited three Taoist masters and shouted for nine days without returning."

3. Diversified forms. Liuzhou folk songs are generally in the form of a combination of seven characters and four sentences, but there are also flexible variations, such as those starting with three characters, that is, a three-seven-seven-seven sentence pattern. The rhyme is usually one, two or four lines that rhyme, and there are also two or four lines that rhyme. Zhuang Huan uses the rhyme of waist and feet.

4. Make full use of refrains and puns. For example: "Twenty-seven coins put three notes, nine coins and nine coins and nine coins (long heard); spiders build webs at the mouth of three rivers, and the water keeps washing them out of pure silk (thinking)."

5. Metricalization Very strict. Although Liuzhou folk songs are folk oral literature and the singers are from the folk and most of them are illiterate, due to the teacher-teacher relationship, the strict requirements in the language have been inherited from generation to generation. Among them, the flat language of Liuzhou folk songs is very standardized. Liuzhou folk songs are closely related to the lives of the people, and their social value is mainly reflected in its functions:

1. Making friends and choosing a spouse:

Liuzhou folk songs have a close relationship with the local traditional marriage and love methods. , is also one of its most obvious traditional social functions. In ancient times, people in Liuzhou had the custom of using folk songs to talk about love and choose a spouse. For thousands of years, Liuzhou people have passed down from generation to generation, using folk songs to express their pursuit of a happy marriage and yearning for a happy life, creating the unique and popular Liuzhou love songs. Love songs include meeting songs, hymns, test songs, gift-giving songs, dating songs, lovesickness songs, parting songs, etc. There are many wonderful phrases that make people gasp in admiration.

For example, it expresses the shyness of young men and women when they meet for the first time, "It is difficult for a new scythe to turn, and it is difficult for a beloved girl to speak for the first time: her heart is like beating a war drum, and her face is like a burning mountain." Praising the other person, "My mother-in-law and adopted sister are as white as lotus roots, and the tips of her fingers are as white as lotus roots." The tip is like a cotton ball; I cough when I walk on the street, and I hear the mouth water. "The star wants to be bright but not bright, the moon wants to set but not set." "Take it off." He expressed his longing for her by "breaking the saffron beans in her arms and feeling the pain in her heart. She misses her so much that her face is greener than a bamboo leaf." She expresses her pain by sending her to Maozhu Mountain. My hands are holding the bamboo and my heart is aching; my tears are flowing on the bamboo, and the June sun will not dry it. "Life and death will make us inseparable, and we will make firewood without separation from the firewood root." "We both piled graves together."... These folk songs have appropriate metaphors, exaggerated boldness, simple language and rich emotions, simple content but profound meaning, calm and witty dialogues, full of rich flavor of life and romanticism, and have a strong artistic appeal.

2. Inheriting history:

Liuzhou people have the custom of using songs to speak for themselves, and singers use historical songs to pass on history. Among them, those that tell the history of ancient nations are called ancient songs, and ancient songs are mostly related to historical stories and folk myths and legends. For example, the ancient Zhuang creation song "Where Do All Things in the World Come From" circulated in Liujiang County "...Bunong planted rice, and the rice spread all over the world; Fu Yi came to create humans, and humans filled the six kingdoms. The foundation is in Haitun, and the locusts lead it. He comes; all the people in the world, we are Zhuang people..." (Bunun: Zhuang language, that is, Shennong. Fuyi: Zhuang language, it is said that the ancient flood flooded the world, because Fuyi brother and sister received a tooth given by King Lei, so they planted it The gourd was born, and the two brothers and sisters survived by sitting in the gourd. Later, they got married and had offspring.) This ancient song uses the form of Zhuang people's pan songs to tell the story of commoners planting rice and Fu Yi creating humans. The unique creation theory of Zhuang mythology. The ancient song "Migration Song" of the Rongshui Miao people uses the form of a folk song to record the history of the Rongshui Miao people's migration to Rongshui after a long journey. The song sings: "The public comes from Zhenghai (Zhenghai: Dongting Lake)...the father goes to Leigong Mountain (Leigong Mountain: refers to Leishan Mountain in Guizhou)...the father goes down the Qingjiang River...the father goes to Gumeishai (the ancient Meishai: Congjiang area) )...rushed out and beat Shangao (Shangao: Beijiang area)...scattered in Yuanbao and Jiuwanshan..." It tells the story that the ancestors of the Rongshui Miao people originally lived in Dongting Lake, but were forced by exorbitant taxes and fled to Leishan, Guizhou , along the Qingjiang River, they migrated from Congjiang area to the Beijiang River Basin to the west and south of Yuanbao Mountain in Rongshui County. It is worth noting that Zhuang, Miao and other ethnic minorities originally had no writing, and much of their history was handed down through folk songs. At present, similar ancient songs are rare, and more are folk songs that sing the history of revolution. At the Liuzhou Mid-Autumn Festival Yufeng Song Fair held in 2001, Liucheng singer Zhu Mingsheng sang a folk song like this live: "The long river of history is curved and curved, and the waves are rolling forward; China has the Communist Party, passing through the reef Crossing dangerous shoals. / In 1927, Zedong led the uprising in Hunan; in August 1st, Nanchang revolted, and Zhu Mao joined forces in Jinggangshan; / Zedong led the workers, peasants and soldiers, with Jinggang Mountain as the center; Jiangxi uprising was led by Fang Zhimin, and Baise uprising was led by Deng Xiaoping / Our predecessors worked hard in the revolution, climbing mountains and ridges and crossing rivers; how much blood and sweat was shed to make New China what it is today / During the Long March on October 16th, 80,000 Red Army soldiers bravely fought for the lead; they broke through the four blockades and bravely killed the enemy. ./The Long March was difficult, passing through thousands of rivers and mountains; the Red Army bravely crossed the river, and there were endless stories to tell./Climbing through snowy mountains and grasslands, one step was filled with water and the other was mud; The Long March was 25,000 miles long, and the troops met in victory. Arrive in Shaanxi. / In April of 1948, during the Battle of Liaoshen, 400,000 enemies were killed and the two sides fought for fifteen days. / Chen Yi followed Deng Xiaoping’s orders in the Battle of Huaihai; 500,000 enemies were killed and the commander Du Laming was captured alive... "The lyrics of this folk song are simple and concise, the sentences are smooth and natural, and they are completed in one go. People have to admire the singers' deep understanding of history and their profound folk song skills.

3. Transferring knowledge:

Liuzhou folk songs are also widely used by Liuzhou folk to impart production and life knowledge, among which pan songs and "mystery songs" are the most significant. Pange is not only a way to test each other's wits in traditional folk song duets, but in rural areas, it is also an important way to teach production, life and other aspects of knowledge to future generations. Usually, direct questions and answers are used, such as: "When will the fields be harrowed and when will the planting be done? When will the crops bloom? When will the crops be cut and dried? When will the girls come?" Answer: "The fields will be raked four times in March." Plant in the moon, wait for the grain to bloom in June; wait for the grain to be harvested and dry in July, and the sister will return on the fifteenth day of August. "Most of the songs use personification, which makes the antiphons particularly vivid and full of life. For example, when asked: "Which one is born without a mother? Which one is born without a home? Which one builds a house upside down? Which one moves upside down?" Answer: "A duck is born without a mother, a monkey is born without a home; a wasp builds a house upside down, and an ant moves upside down."

"Another example is the "Pan Shi Song" circulated in the Rongshui area, which asks: "Eighteen people, who were the people at the beginning of Pangu? Which dynasty was the Xia Dynasty? What was the name of the emperor of the Shang Dynasty? What was the surname of the emperor of the Western Zhou Dynasty? Who founded the Eastern Zhou Dynasty? Who? Who was in charge of the Spring and Autumn Period? Who were the Seven Heroes of the Warring States Period? Who wrote the Book of Songs? Who unified the country? Who took the lead in the uprising at the end of the Qin Dynasty? When was the Great Wall built? Who established the Western Han Dynasty? Who established the Eastern Han Dynasty? People? Which countries are divided into three parts of the world? Who is the divine ingenuity? Which one is the seven-step poem? Which one established the Eastern Jin Dynasty? Which court in the north and south? What was the surname of the emperor of the Sui Dynasty? What was the name of the Tang Emperor? Who was the immortal poet of the Tang Dynasty? ?Who led the uprising in the late Tang Dynasty? How long was the Five Dynasties and Ten Kingdoms? Who was the emperor of the Song Dynasty? Which emperor of the Southern Song Dynasty? Which hero resisted the Jin soldiers? How many years was it in the Liao and Jin Dynasties? Who was the emperor of the Yuan Dynasty? Who was the founder of the Ming Dynasty? Who was the first to lead the uprising in the late Ming Dynasty? How many emperors were there in the Qing Dynasty? Who was the leader of the Jintian uprising?" Answer: "Of the eighteen, the Yellow Emperor is the ancient one. The emperor of the Xia Dynasty was Xia Yu, and the emperor of the Shang Dynasty was Shang Tang. The emperor of the Western Zhou Dynasty was Ji Fa, and the founder of the Eastern Zhou Dynasty was King Ping. Qi, Chu, Yan, Qin, Han, Zhao and Wei were the five hegemonic officials in the Spring and Autumn Period. The Book of Songs was originally compiled by Confucius, who unified the country and belonged to Emperor Qin. Chen Sheng and Wu Guang conquered the world, and the Qin Dynasty ruled the Great Wall. Emperor Wu Liu Xiu established the Eastern Han Dynasty, and it was Liu Bang who established the Western Han Dynasty. The world is divided into three parts: Wu, Wei and Shu. The most ingenious thing is Kong Ming. The seven-step poem was attributed to Cao Zhi, and the Three Kingdoms belonged to Sima Yan. Emperor Yuan established the Eastern Jin Dynasty from scratch, and the north and south of the country returned to the Sui Dynasty. The emperor of Sui Dynasty was Yang Jian, and the emperor of Kaiji was Li Yuan. The poet of the Tang Dynasty was Li Bai, and the uprising of the late Tang Dynasty was Huang Chao. In the 50th year of the Five Dynasties and Ten Kingdoms, Emperor Zhao Kuangyin of the Song Dynasty. The emperor of the Southern Song Dynasty was Zhao Gou, and the hero Yue Fei fought against the Jin soldiers. Two hundred years after the Liao and Jin Dynasties, Genghis Khan was positioned as the Yuan Dynasty. Zhu Yuanzhang was the founder of the Ming Dynasty, and Li Baicheng revolted at the end of the Ming Dynasty. There were twelve emperors in the Qin Dynasty, and Hong Xiuquan revolted in Jintian. "Emperors, generals, stories, legends, and anecdotes of all dynasties are all included in the song, just like a historical encyclopedia. Pange can be regarded as today's knowledge competition. Therefore, it requires singers to have the qualities that ordinary singers should have, such as alertness and humor. It also requires singers to have considerable experience and master a wealth of knowledge.

"Riddle songs" are riddle songs. The singers always grasp the most prominent features of things and compile riddles to ask each other. Pass on all kinds of knowledge to future generations. Some people guessed about common sense of life, such as asking: "There are two parents-in-law who always touch each other every night; they touch each other before going to bed. They can't fall asleep without touching them for a long time. Answer: "The singer is really talented. The door panel is like two parents-in-law. Who wants to sleep with the door open? They have to touch the door every night." "Someone who has guessed about the common knowledge of childbirth may ask: "There is something that is born by chance. The male and female are holding an arrow: the tip of the female's mouth is pointed and the tail is raised, and if it doesn't match, she always knocks the male's. Answer: "This rhyme has meaning, it is the plow used by farmers; whether it is deep or shallow, if it does not match, it always strikes the male." "Someone who guessed the historical story asked: "It comes without a shadow and is intangible. It cannot be painted with skillful strokes: it helped a group of people in the Three Kingdoms and left a good name from ancient times to the present." Answer: "I worshiped the east wind on the Kongming Platform, and the fire burned Red Cliff and the river was red; the fire took advantage of the wind and was so powerful that it forced Cao Cao to leave Huarong." Someone who guessed the crossword puzzle asked: "You are not afraid of being ugly if you are attached to each other. The man and woman also line up at the head. The head of the line has to hold hands and hook their feet together." What's the word? Let me ask you, sister Hua Qiu. Answer: "You are not shy when you are in love with each other, because men and women are the first to line up. At the head of the line, they have to hold hands and work together to hook their feet. It is a good word. Try to be a good person even if you are embarrassed?"... The riddle song is cleverly composed because of the riddle, so the answer to the riddle is The song has wonderful answers, and the various knowledge sung is rich in content, vivid, easy to understand and remember, and is favored by the masses.

4. Customs and etiquette:

Among the people of Liuzhou, there are many. Customs and etiquette are all reflected in folk songs. For weddings, there are "weeping songs", "welcoming songs", and "scold and welcome songs"; for funerals, there are "weeping songs"; for meeting and greetings, there are "polite songs"; for banquets, there are "toast songs"... ... Customs and etiquette songs are also very humorous. For example, there was a popular custom in Liuzhou area. When a man comes to marry a woman, the woman often uses "cursing songs" to ask questions in order to test the man's family background and character. The sentences are spicy and humorous. , and the man responded with a witty and humorous response. This "Song of Scolding and Marrying" fully reflects the cheerful and forthright character of Liuzhou people. A young man, Dasong, met and fell in love with the girl Gillian at a song fair, and they made a lifelong commitment to marry each other. That day, Dasong's relatives and friends came all the way to Shangdong Village. As soon as they entered Gillian's house and sat down, a group of girls from the same village gathered around them. They were all invited by Gillian to pick her up. Relatives are singing to each other. The leading girl started singing "The Wedding Song": "The man's family is playing ball with stones, and a bunch of cows are coming; the cowhide is missing, and the horse is missing the bridle. Not to be outdone, the man immediately sang back: "Don't be cruel to the girls in the house, and use your words to hurt people and make them incomprehensible; if you say cruel words in person, your face will turn red the next time we meet." "At this time, the host's family was handing out cigarettes and tea to the people who came to pick up the bride, and the girl took the opportunity to sing again: "The people who are sending the bride are shameless and come to my house to smoke yellow cigarettes; my house does not open a cigarette shop, and the tobacco leaves are still on the ridge. "The man replied: "The girl in the house is so young that she will talk about it for a long time while eating some pornographic cigarettes. You will also scold her for eating some pornographic cigarettes. How much is it worth?" The girl didn't let go and sang again: "The person who picks up the bride is kind. Face, come to my house to drink tea; my house does not open a tea shop, and the tea leaves are still on the hillside. The man replied quickly: "The girls in the house are too thin, and drinking tea is too much. If you come to my house, you can drink it from any bucket or basin." "The humorous antiphonal song attracted applause from the whole house. The girls in the village took advantage of the momentum to pursue and launched an attack: "Brother picking up a bride, I shuddered when I heard the pick-up; I wore a rotten straw hat on my head, just like a rotten bird's nest in the tree. "Brother, the younger brother who picked up the bride, responded to the previous song without any hurry: "Brother Mo Xiao, the newlyweds are in love and harmonious; when you get married one day, I will also worry about you.

The girl still didn't let go: "The one who picks up the bride wears new clothes that he borrowed. But when he returns home and takes them off halfway, it's like skinning an ox." The young man replied with a smile: "I don't blame my sister, I don't blame my old sister for her narrow eyes; it's my fault that my brother is hardworking and his wallet has increased, and he has a lot of new clothes and trousers." "...Both sides asked and answered questions, which was very interesting. Everyone present laughed and the scene was very lively. The song passed smoothly because the man answered fluently. If the man didn't answer smoothly, he would keep singing until The matchmaker comes forward to make peace. In ethnic minority areas, customs and etiquette songs permeate every corner of people's lives, such as the Miao people's "Brother Interrogation Song", the Dong people's "Songmen Song", and the Zhuang people's "Back Strap Song". Etc.

5. Promote current affairs:

Liuzhou folk songs are also a light weapon for promoting current affairs and politics. People call them current affairs songs, which are folk songs that reflect the current political aspects of society. Strictly speaking, they reflect the singers' views and attitudes on current affairs. For example, Liu Sanjie said: "I hate the rich man who is cruel and hurts the poor by pressing for rent and debt. When the third sister sees it, she sings folk songs." Complaint. "Don't praise the wealth of the rich man's family. The rich man's heart is more poisonous than a snake. The fish will die when you wash your hands by the pond, and the trees on the green hills will wither when you pass by." "(The eighth plan of the Cai Diao drama "Liu Sanjie") vividly exposed the cruel economic and political oppression of the peasants by the landlord class and expressed the people's dissatisfaction with the society at that time. Before liberation, the famous singer Huang Sandi came to the rescue when he saw injustice on the road. The civilians who were imprisoned asked the county magistrate: "People in the whole city are talking about it, and they are all grievances about Brother Wei. The county magistrate has a clear mirror, so why doesn't he take action against the wronged person?" He bravely fought local snakes and argued with officials: "I sue a group of Qiu Bugao who wear hats and spend twelve jiao on their heads; they snatch women from the people on Yangguan Avenue and do evil blatantly." "("The Story of the King of Songs") and so on are also the reflection of the aspirations of the people at that time. These folk songs can be classified into the category of political songs. With the development and changes of society, the influence of politics in people's lives is becoming more and more extensive and profound. After the liberation, especially since the reform and opening up, the party and government gave full play to the characteristics of Liuzhou folk songs that are lively and interesting, popular with the masses, and entertaining, and mobilized and guided the folk songs. Singers use folk songs to promote the party's principles and policies, and have achieved obvious results.