[Chen Ruiqi] The changes of folk literature under the protection of intangible cultural heritage
Abstract: The traditional culture of the De 'ang nationality has undergone great changes in recent years.
In the process of modernization, modernization and tradition are interdependent and absorbed each other.
According to its own operating logic and construction laws, its traditional culture continues to carry out self-renewal with the development of society., self-adjustment, and realize the transformation, reorganization and reconstruction of traditional modernity in various ways.
Among them, the modernization reconstruction of the Deang people's creation mythical epic "Dagudaranglei Biao" is a typical example.
Keywords: Intangible cultural heritage; De 'ang epic;"Dagudaranglei Biography"
"Dagu Dalenglai Biao"(hereinafter referred to as "Da ") is a mythical epic of the creation of the De 'ang people.
In 2008, it was included in my country's second batch of intangible cultural heritage protection list, folk literature project category, serial number 552.
At present, the academic community can unify the understanding that the earliest Chinese version of the epic was published in the second issue of "Camellia" in 1981.
It is a long narrative work in rhyme style, telling the origin of mankind and a series of things in the world-mountains, rivers and other things.
The occurrence and development of material objects.
In recent years, with the establishment of this mythical epic as an intangible cultural heritage, first, its place of circulation has shifted, and secondly, its content has undergone tremendous changes.
In the process of modernization, traditional folk stories and modernization are interdependent and absorbed.
Traditional culture continues to self-update and self-adjust with the development of society according to its own operating logic and construction laws.
This "self" comes from the traditional village people.
The subjective will of the people also comes from the intervention and guidance of the national cultural elites.
Traditional culture realizes the transformation, reorganization and reconstruction of traditional modernity in various ways in the interweaving movement of multiple forces.
I.
Exploring the origin of epic
The regionalization and contemporary nature of folk traditional literature have distinctive characteristics.
That is to say, the folk stories of the same nation in different periods and different living areas are different.
These different folk stories reflect different geographical environments and historical processes in different areas.
and different regional cultures.
De 'ang folk literature is no exception.
Survey data from the De 'ang ethnic settlements in the 1950s show that the stories circulated in different gathering areas are representative.
Looking at the oral literature of Dazhong Village in Lujiang Dam, Baoshan compiled by Mr.
Sang Yaohua in the late 1950s and early 1960s, the story of "Tianwang and Mother" is circulated, and the content is very similar to "Da".
The story goes like this: Long, long ago, there was nothing in the world except the "Heavenly King" and the "Earth Mother".
Later, they married and gave birth to a little girl.
They had a family of three, and worked hard to survive.
One day, the "Heavenly King" went out alone in the endless dense forest to gather firewood.
He felt very lonely.
Suddenly, a strong wind blew and 100 leaves were blown off.
The Heavenly King said to himself, if all 100 leaves could turn into human beings, I will have company.
Sure enough, the 100 leaves turned into 100 people, 50 men and 50 men, but the appearance of the 50 men was exactly the same as the Heavenly King.
These 100 men, women and the Heavenly King's family, a total of 103 people, became the ancestors of the Beng Dragon Tribe (the name of the De 'ang tribe before 1985).
Legend has it that they each have the same surname, calling the tree whose leaves were blown off by the wind the "living tree" because its leaves turned into people.
At the same time, they sawed the living tree into wooden boards and built a house.
They live on a nearby hillside.
He also said that these 100 men and women formed 50 couples.
Due to the increase of population and lack of food, the heavenly king went to the celestial palace to ask for grain seeds from the immortal.
The heavenly king brought back grain, rice, soybeans, wheat, melons, gourds and other seed seeds and planted them on the ground, on the slopes and by the sea.
The gourd is planted on the sea.
Its seedlings grow in the center of the sea and form a gourd.
It floats in the middle of the sea.
The gourd is as big as a mountain.
There is a fuss inside.
One day, a storm suddenly came, thunder and lightning flashed, splitting the gourd.
There were 103 people inside.
They rode the gourd to the seaside and landed.
These were the Han, Dai, Hui, Lisu, Jingpo, Achang, Bai and other ethnic groups.
In addition, there are animals and plants inside the gourd.
The geographical landform described in the story is basically consistent with the geographical environment of Dazhong Village, Lujiang Dam, Baoshan.
Baoshan Lujiangba Dazhong Village is located at the eastern foot of Gaoligong Mountain, at an altitude of more than 2000 meters.
The village is surrounded by tea trees, walnut trees, palm trees, bamboo and plantains.
Winter here is warm, summer is cool on the mountains and mountainsides, and all four seasons are growing periods, suitable for the development of tropical and subtropical cash crops.
The ancient Gaoligong Mountain is rich in resources.
The entire mountain is covered with dense forests, where cedar pines, cypress trees, ironwood, armandi pine, chestnut trees, elms, etc.
grow everywhere.
Tigers, leopards, jackals, foxes, wild boars, wild cattle, pythons, peacocks, parrots, pheasants, bamboo chickens and other animals live.
There are very rich medicinal materials here, including more than 50 kinds of Chenopodium chinensis, Trichosanthis, Coptis chinensis, Pogostemonis, Asarum, Cimicifuga, Kujiangxiang, Earthworm, and Asparagus.
The description of nature in the story is the confirmation of the real world in people's minds.
"Myths are unconscious artistic processing of nature and social life under ancient conditions...
Myths mainly reflect the understanding of nature by the ancestors of all ethnic groups in ancient times and express the desire of the primitive ancestors to conquer nature."
From the legendary story of the Tianwang and the mother of the earth, we can trace some threads of the mythical epic "Da", which contains intangible cultural heritage.
The "Living Tree" was blown off 100 leaves by the strong wind.
The Tianwang's good wishes caused the leaves to transform into fifty pairs of men and women, seeds germinate and form gourds.
After the baptism of the storm, various ethnic groups in China were born.
The textual version of the mythical epic "Da" used when applying for intangible cultural heritage was sung and translated by Zhao Lalin, an old man from Lujiangba, Baoshan, Yunnan.
The story tells the story of a small tea tree in the heaven who couldn't bear to see the land deserted, so he was not afraid of thousands of hardships and dangers.
He transformed the 102 leaves on his body into 51 pairs of men and women, went to the earth, defeated floods and demons, and built mountains and rivers with his body and flesh and blood, and transformed into animals and plants.
The story of the youngest brother and sister getting married and giving birth to mankind.
"Da" not only reflects the traditional agriculture of the De 'ang people who have grown tea for generations, but also tells the origin of the distinctive national costumes and waist bands, but also contains many traditional national cultural matters.
In the process of being passed down by word of mouth, through generations of folk artists 'meticulous observation and profound analysis of life, and through recitation and performance, the whole story shows distinctive local characteristics and national cultural characteristics in the twists and turns, fully demonstrates the production and living customs, clothing culture, music and art, human geography, ethics and morality, values, religious beliefs and other aspects of the De' ang people, starting from the origin of the universe, From the formation of celestial bodies to the birth of mankind, from family form to belief and worship, from nature to society, from matter to spirit, everything that our ancestors practiced, thought and experienced is included.
From this mythical epic, readers can gain insight into the original thinking concepts of early humans, such as the concept of time, space, number, life and death, religious concepts, marriage relationships, life scenes, etc.
Therefore, in a sense, the De 'ang people and their ancient culture are all "narrated" by the narrative of "Da".
It can be said that the narrative of this mythical epic has the characteristics of "both literature and history" and "historical biography".
At the same time, this epic has the cultural function of building social and cultural forms and shaping social and cultural personality.
It is the Deang ethnic identity.
An important medium.
Throughout the narrative of the entire mythical epic, it fully demonstrates the functions of "Tao, Yi, Taste, God, Xing, Extra-Elephant, Sympathy, and Travel" in China's traditional poetry, creates vividness and changes through tortuous and moving plots, expands the space for people to create imagination, and elevates the subject to the same freedom as the ontology of the universe through aesthetic empathy.
"Da" begins its grand narrative from an organic complete space.
Its organic holistic view forms the concept of the unity of man and nature displayed in the text.
The concept of the unity of man and nature is based on the concept of harmony corresponding to the isomorphism of man and nature.
Therefore, during the period of organic, unity, isomorphism, and harmony, the brothers and sisters who are transformed by tea interact with each other through dialogues connected by sympathetic thinking, so that they interact with each other, so that they form mutual harmony and transformation.
Based on the unity of man and man, we have achieved the realm of harmony between man and man with virtue, harmony between man and man with emotion, harmony between man and man with thought, and harmony between man and man with Tao.
Not only that, the text of "Da" finally uses the poem "All ethnic groups were born from the same ancestor" to achieve the highest "world picture" of national unity, embodying the last and highest literary meaning, rationale and philosophical thinking of the text.
This is also in line with the current construction goal of establishing Yunnan Province as a demonstration area for national unity.
The social and cultural implications contained in the narrative of this text are of extremely important social and cultural value both in history and today.
As a verbal literature based on language,"Da" is an important part of mankind's precious spiritual wealth and can best reflect the traditional memory of a nation.
Therefore, it has a profound foundation for national identity.
It involves history, religion, anthropology, philosophy, sociology, art, science and other fields.
It is the essence and core of national culture.
It is conducive to enhancing national cohesion and provides a unique practical basis, spiritual source and way of thinking for exploring national culture and humanistic spirit.
Therefore, it is of great significance and value for "Da" to be selected as intangible cultural heritage.
Comparing the two folk literature pieces "Tianwang and Mother" and "Da", although the two genres are different, one is a legendary story and the other is a mythical epic, it is not difficult to see that the two have a very high degree of similarity.
The name "Tianwang and Earth Mother" is in Chinese and tells the story of his parents and ancestors."Dagudaleng" is the language of the De 'ang nationality, meaning Agong Azu, and "Gelabiao" is also the De' ang language.
It translates into Chinese, meaning an unforgettable story.
Although the content and details of the two are different, the themes of "leaves are born" and "all ethnic groups come from the same ancestor" are highly consistent.
It can be said that these two folk literature with different genres but both spread in Baoshan, Yunnan Province should be in the same line.
Scholar Gao Bingzhong uses the concepts of "folk life" and "folk culture" to express traditional cultural forms."Folk life" can be called "national cultural life as a process", and "folk culture" is "national cultural event as a symbol." National culture that exists as a process is a concrete, vivid, vivid and perceptible way of life and state of life.
It is manifested in the activity and actual process of cultural subjects creating and inheriting culture in specific time and space fields and living situations., and is always in a dynamic development pattern influenced by multiple factors; The national culture that exists as a symbol is a static text extracted from the living world of ethnic minorities.
It is expressed as the memory, knowledge and experience of cultural subjects about various national cultural events, as well as various records in literature, classics and ethnic historical records., narratives and summaries.
"Da" is obviously a "folk culture" that records "folk life" and is the memory, knowledge and experience of cultural subjects in a certain area.
II.
Internal compilation of the epic
The foregoing mentioned the regional characteristics of the mythical epic "Da" and the fact that the basic framework of the oral recitation of "Da" in traditional communities in Baoshan, Yunnan Province have many overlaps with the Chinese character text content.
However, the myths appearing in the form of oral literature will vary in different locations and different narrators.
The same is true for "Da".
The oral recitation of "Da" in different traditional communities constitutes a new internal compilation of "Da" after its successful application for cultural heritage.
Take Santaishan Township, located in Mang City, Dehong, Yunnan, the only Deang Township in the country where the Deang people live, as an example.
According to the historical survey materials of the Deang people in the early days of the founding of the People's Republic of China, stories circulating in this area include "The Legend of Migration" and other stories.
In several Deang villages, gourd-shaped signs are erected on the village gates.
Obviously, stories of human origin from gourds are not uncommon here, but there are no folk stories and legends similar to the content of "Da".
However, with the successful application of "Da", the establishment of its status as a cultural and ecological village in Santai Mountain Township, and the loss of cultural discourse in the place where the story was originally spread,"Da" has become the most well-known traditional literature in Santai Mountain Township.
More and more folk artists here claim that they can tell the story completely.
This phenomenon confirms the assertion of experts: "Now that regional boundaries have been greatly broken, we are no longer limited to having a common language in a certain region in the past, but having a common language under the premise of an identity.
Language, under this common language, we can form a common tradition of oral expression through the Internet and other communication methods."
It is not difficult to see that through the successful application of intangible cultural heritage,"Da" has received official attention to a certain extent, and has obtained a certain degree of confirmation and promotion of its status from the state and the government, and has become an influence on the social culture of Dehong Prefecture.
A force that cannot be ignored in the overall pattern.
However, based on years of field surveys in Santai Mountain Township, Mang City, Dehong, the oral version of "Da" sung by folk artists here does not overlap at all with the story content described in classic documents.
The many versions circulated here and the rich connotation completely cover the original story content.
Whether the interviewees are old artists awarded the title of national inheritors of folk culture, inheritors of provincial intangible cultural heritage, or other artists in the village, the content of "Da" they tell is mainly "The Legend of Migration".
That is to say, although their chanting myth has been changed to a new name-"Da", some narrators 'stories have intercepted the Chinese text "Tea tree is the ancestor of all things" at the beginning, and the rest of the story still uses community traditions.
classics.
Here, the local character of myth, that is, the fact that myth is the product of a specific knowledge environment, remains unavoidable.
According to the national-level inheritor in the village,"Da" is mostly recorded in scriptures, but the records in the scriptures are not systematic.
There are only a few words in a scripture, and most of them are passed down by word of mouth.
He said that the beginning of "Da" was like this: Legend has it that in ancient times, volcanoes erupted, the earth sank, dragons came out to rain, and after the flood, the only small tea tree left in the world.
The tea tree became the ancestor of De 'ang and protected the people.
Only then did the ancestors of mankind exist.
He particularly emphasized that there was human beings before there was Buddha, otherwise Buddha could not be reincarnated.
He said that "Da" has many singing forms, including duet between elderly people and solo rap.
In important festivals and daily life such as going to new houses, weddings and funerals, festivals, visiting relatives, etc., singing is always performed.
At the funeral, I only read but not sing.
Some Buddhas can also sing, all relying on rote learning.
Due to the decline of the nation, the tunes are all sad.
It is also sung during field work.
It is usually sung to men and women on the two mountains.
The man cuts firewood and the woman weeds tea leaves.
They ask each other and answer each other.
They are called "liao".
When they are married, they are called "lai".
When the atmosphere is cheerful, they are called "sodon".
When the atmosphere is very cheerful, they are called "mekao","You Become Vegetable, I Become Pot"(However, according to the "Broken Dragon Clan Literary Works" published by Dehong Ethnic Publishing House in 1983,"You become a vegetable, I become a pot" is a newly created poem by the old artist that praises the beautiful love of young men and women after the reform and opening up.) It is also part of "Da".
Each branch of "Da" has different tunes and different names.
It contains many stories.
What we see now is only the Genesis part.
Genesis is the main line, with several variants, establishing a iconic tune, with different forms, different scenes, and different contents.
Divided into: the creation of the world, Zhuge Liang's three capture of Meng Huo, migration history, etc.
According to other old artists,"Da" has been passed down from generation to generation.
It not only tells the story of the emergence of all things in heaven and earth, and the experience of production and life, but also tells the story of respecting gods, honoring parents, caring for the next generation, and educating children.
The ethics and morals of children must be benevolent, and animals and plants, including birds and mice must be treated well after they die.
If they do this, the blessings of these creatures will come and customs that must be observed.
A person must be sincere, strictly abide by the monogamy system, be single-minded in relationships, do not steal, and do not force others to do things they are unwilling to do.
The inheritor of Santai Mountain's provincial-level intangible cultural heritage "Da" believes that "the ancient song (referring to" Da ") tells us the miserable history of the nation's defeat.
The other side's troops are strong and we cannot win, so we can only run.
We evacuated from Yongchang (today Baoshan) to the forest, and from the forest to the riverside.
It has been a lot of hardships along the way.
Therefore, everyone must keep in mind history, learn lessons, learn how to be a person, and respect others.
You must think carefully about what I am telling you today." The whole tune is full of helplessness in sadness, and the sighs are mixed with a deep understanding of the nation and life.
The migration epic is defined by scholars: "The migration epic is a transitional form from a creation epic to a heroic epic.
From the perspective of content and structure, it has both the elements of a creation epic, that is, the exploration of all things in the universe and the origin of mankind, as well as the heroic epic.
The factor is the description of tribal wars, but the main body of the epic takes the migration of nations as the narrative object." The migration epic of the De 'ang people in Santai Mountain Township tells the story of the De' ang people's origin in Mongolia, tells the story of the suffering war, and describes the current distribution of the De 'ang people from the perspective of forced migration caused by the war.
It also contains a description of the production and living customs formed by the De' ang people during their migration.
As one of the ethnic groups with a small population, the damage caused by the cruel war to the psychology of the entire nation is obviously inseparable.
Looking at historical data, it is recorded that in 1253 AD, the Yuan Dynasty army pacified Dali and continued to march into Yongchang in the fourth year of Xianzong (1254) to conquer the Golden Tooth.
Jin Chi (according to Mr.
Sang Yaohua and others 'textual research, belonged to the De' ang ethnic regime) and Baiyi (Dai) tribes successively surrendered, and in the early years of Zhongtong (1260) they sent their children to pay tribute to the Yuan Dynasty emperor.
With the continuous advancement of the expedition, the Yuan Dynasty awarded the leaders of ethnic minorities who had surrendered to him "local officials" and "placed them under the jurisdiction of the Marshal Mansion of the Golden Tooth." This deprived the slave owners and nobles of the Golden Tooth as a unified political and military force.
These slave owners and nobles, large and small, were affiliated to the "Marshal Mansion" respectively.
At the same time, local officials of the Yuan Dynasty quickly implemented a complete feudal system of "fixing rents and taxes, establishing postal transfers, and establishing guards." The implementation of these systems disintegrated the politics and economy of Golden-toothed slavery.
In the middle of the Yuan Dynasty, the power of the "Baiyi"(Dai) in the Dehong area gradually became stronger.
In the late Yuan Dynasty, the Dai ruling group represented by the Luchuan Si family successively conquered neighboring areas and other ethnic groups.
In Mangshi, Nandian, Ganya and other places to the north and west of it, due to geographical connection and intermingled ethnic groups, they became the first targets of conquest in Luchuan.
The Yuan Dynasty's "General Record of Recruitment and Arrest" records: "In the first year of Zhizhi (1321), the director of Nu Moudian invaded Mangshi Lulai and other villages, burned 141 villages, and killed one person in the prosecution document." This was a major war in Mangshi.
In the war, the villages of the Golden-toothed people were burned down, the land was occupied, and the people were looted or driven away.
In the early Ming Dynasty, a series of wars in which Luchuan seized the land of the Ming Dynasty, and the "Three Conquests of Luchuan" battles that lasted for nine years during the orthodox period were all in the territory of today's Baoshan and Dehong.
In addition to the direct destruction of people's lives and property, the various ethnic groups in Yongchang (first of all, the Golden Teeth) were also burdened with heavy labor and food wages.
After the war, the troops stayed behind and arbitrarily oppressed ethnic minorities, which brought disaster to the Golden Teeth.
During the Jiajing period of the Ming Dynasty, He Mengchun, governor of Yunnan Province, said in his "Request for Reestablishment of Yongchang Mansion":"Due to the rebellion of Luchuan and the levy, the Yi people gradually became trapped.
At the end of Jingtai, Commander Mao Sheng followed the expedition to Luchuan.
He knew that the Golden Tooth Division commanded a lot of supplies, so he defended it.
When a courtier saw that Mao Sheng had benefited, he followed suit.
Therefore, he occupied Yi fields extensively as official villages and took a large amount of Yi wealth to cover expenses...
He took rope and stripped the flesh of the people, and advocated that he would not be sorry.
The Yi people were afraid of death and dared not disobey.
As a result, the strong became thieves, and the weak fled far away...
Those who could not escape were naked, eating grass and digging mountains.
They were dying, and countless people died."As a result," nine out of ten Yi people living thousands of miles around the city were dead."As a result, the Fengxi Chief Secretary, who was thousands of households at the end of the Yuan Dynasty, became" only a few families today, and it can be seen if the second generation is not attacked."
The Yuan army conquered the Golden Tooth and the rise of Luchuan.
During the Ming army's "three conquests of Luchuan", frequent wars were fought on the land where the Golden Tooth people lived, which became the direct cause of the decline of the Golden Tooth.
The scars left by history on the people have become indelible and painful memories in the hearts of generations, and have also become an important part of literary works.
Although the written text of "Da" comes from oral recitation, and the written text promoted the coherent narration of folk artists after the successful application for the cultural heritage, the beginning of "Da" sung by almost every folk artist in Santai Mountain Township is different.
Even national-level inheritance artists themselves sing differently every time.
Not only that, including the tunes, the singing tunes of "Da" vary from person to person.
Different artists have different tunes, either sad, sad, low, or tactful and lyrical.
Artists sing different tunes according to different plots or different contexts.
The oral texts of "Da" provided by veteran folk artists seem to be just fragments at a time.
They are not the complete story presented by the earliest "Da" published in "Camellia" magazine that we see now.
In Santai Mountain, ordinary villagers other than veteran artists are not familiar with the academically recognized written texts published in "Camellia" magazine.
That is to say, the readership of "Da" does not include the audience of the communities in the area where the text is gathered.
In other words, The oral text of "Da" circulated in Baoshan or the Chinese character text derived from the oral text is completely different from the stories told in the traditional community of Santai Mountain Township.
There is no overlap between their contents.
This conclusion has been repeatedly corrected during field surveys.
That is, in the deepening field, the difference between authoritative samples and spoken recitation is surprising.
III.
External compilation of the epic
Coincidentally, in recent years, the interpretation of "Da" by scholars or institutions from outside traditional communities has become an important part of "Da" as the "myth of the moment" in the context of intangible cultural heritage protection.
In "Ancient Songs of De 'ang" published by Yunnan Audiovisual Publishing House, due to the time limit of the feature film and the inclusion of multiple De' ang folk songs, only a part of each folk song is intercepted, and "Da" is no exception.
The clips sung by the three singers in the film are only a small part of the story of "There is a small tea tree in the sky that is not afraid of sacrificing itself and determined to descend to the earth to decorate the earth." In "The Art of Yunnan Ethnic Singing" published by Yunnan Ethnic Audiovisual Publishing House,"Da", as a masterpiece of the De 'ang ethnic group, is obviously far more important than "De' ang Ancient Song".
Here,"Da" is divided into "Work","Production","Creation","Festival","Song of Songs" and "Love Song".
Different articles are sung by different singers.
The lyrics of "Work" are like this: "Mom, Mom, today I will sing an ancient song," People who drink water and never forget to find water, people who never forget to collect shuttle when they dress!" Thank you for not only raising us, but also teaching us how to cook, wash, spin, and weave...
I will hand over all the beauty you gave me to my children, and just like this I will pass the skills of our Deang Weaver Girls will be passed down from generation to generation." The whole song praises her mother's patient and meticulous attitude when teaching the craft of weaving and garment making.
This attitude infected the singer and made her determined to teach the craft to her descendants like her mother.
It would be more appropriate to name this kind of content as a "Song of Songs" than to name it a labor chapter, because the whole song has been praising my mother's love, my mother's craftsmanship, and the beauty of traditional handicrafts.
Such content was unprecedented in the scriptures published in Camellia magazine in 1981, and it was something I had never heard of in my long-term field research.
The lyrics of "Production" are obviously one of the text contents of "Camellia" magazine in 1981, but they have the same problem as the previous chapter, that is, the content of the lyrics is still more about praising: "The people of De 'ang are not the kind of ungrateful people.
First of all, we must thank the tea god of heaven...
Father and mother, we must firmly remember you, sing the land, and praise our ancestors.
We must sing this feeling from generation to generation", not about production and labor.
Although the words "Genesis" and "Song of Songs" do not strictly follow the text published in "Camellia" in 1981, they are obviously indeed contained in the text.
The content of the "Festival Chapter" is one of the legendary stories about the Water-Splashing Festival."In ancient times, there were two gods, one named Kunsang and the other named Kunsong; for a period of three years, Kunsang and Kunsong took turns to govern the world...
Due to the late farming season, one of them's head was seen down and blood was everywhere, so people washed the earth with clear water." This is a legend about the origin of the Water-Splashing Festival that is widely spread in the Deang Village of Santai Mountain Township.
In addition, there are also such words in this chapter:"That day happened to be the seventh day after Qingming Festival every year.
It was the Dai New Year's Day.
At that time, the Dai, Jingpo, and De 'ang ethnic groups lived together and were as close as a family.
They designated this day as the Water-Splashing Festival, which was called the Cauliflower Festival in the De' ang ethnic group." The Water Splashing Festival of the De 'ang ethnic group was renamed the Flower Water Festival when it was applied for the cultural heritage, but there is no basis for "renaming" the Water Splashing Festival again to "Cauliflower Festival".
The content of "Love Song Diao" is suspected of another traditional Deang literature,"I'll Wait for You on the Way".
The "Love Song Diao" sings like this: "Girl, didn't we agree to meet at the old place last night? Early this morning, I ran behind the big banyan tree to find you.
I waited left and I couldn't see you, and I waited right and I couldn't see you.
Where have you been?...
Brother, actually, I went to the old place before dawn, but I never saw you coming, so I carried a basket and went up the mountain to ask for wild vegetables." Compared with "I'll Wait for You on the Way", although the content is roughly the same, the language is much inferior.
Dividing the content of "Da" into these six parts, and including the "Labor Chapter" and "Festival Chapter" that are not seen in the Chinese text may reflect the artist's personal understanding of "Da" and the distinctive features that are constantly created during the narration of oral literature.
However, these contents are used to completely replace the vivid descriptions in the application and abandon the emphasis that tea is the ancestor of all things.
It is a pity to abandon the plot that expresses the formation of waist bands of national costumes and other plots that form hundreds of beasts such as mountains, rivers, hundreds of beasts, and abandon many vivid and rich contents in this mythical epic of creation.
It is an album of authoritative and academic value that records the art of national singing.
There are also many opinions on the definition of Da.
On page 64 of "Collected Interpretation of Ancient Books of Ethnic Minorities in China" published by Yunnan Education Press,"Da" is defined as follows: the creation epic of the De 'ang nationality.
It is widely spread in the Deang ethnic area of Dehong Dai and Jingpo Autonomous Prefecture, Yunnan Province.
The epic is more than 1200 lines long and mainly records the origin of mankind and the process of creation and creation.
It calls tea the ancestor of all things, and the sun, moon and stars are all the spirits of tea.
With the help of tea trees in the sky, the epic vividly depicts the heroic struggle of human ancestors to create a new life, reflecting the important position of tea in the economic life of the De 'ang people.
The epic reflects the nature worship of the ancestors of the De 'ang people, has high artistic value, and is a precious document for studying the ancient history of the De' ang people.
Zhao Lalin spoke and translated, recorded and compiled by Chen Zhipeng, and published in the No.
2 issue of Camellia magazine in 1981.
See also "China Ethnic Folk Literature" compiled by the Institute of Ethnic Literature and Art of the Central University for Nationalities.
In "Quyi Annals of Dehong Dai and Jingpo Autonomous Prefecture", it is defined as follows: The Gedan repertoire of the De 'ang ethnic group, with more than 800 lines, is a narrative long song that records the legends of the De' ang ancestors...
This long song not only reflects the creation legends of the De 'ang ancestors, but also reflects the historical origin of the name "ancient tea farmer." The song was sung and translated by De 'ang artist Zhao Lalin, recorded and compiled by Chen Zhipeng, and published in the No.
2 issue of "Camellia" magazine in 1981.
However, in the actual compilation, there was nowhere to find more than 1200 or more than 800 lines of poems.
There were only 556 lines of poems published in the second issue of "Camellia" magazine in 1981.
To sum up, the interpretation of "Da" by institutions and personnel outside the traditional community not only proves the differences in their fields and interviews, but also incorporates the creativity of the editors.
Perhaps the editor believes that such a mythical epic of creation that integrates national culture should cover more comprehensive content, and should not be just a mere 500-odd lines in size.
Can it be inferred from this that myths are more about recording what people as narrators are thinking, rather than just what the content of the myth is? However, one thing can be confirmed, that is, once a text, whether in digital form or in written form, is published, it will inevitably become a new authoritative sample, providing a new framework for future research.
IV.
conclusion
To this day, the area where "Da" is sung has been completely changed, from Baoshan to Dehong, and the circulation situation is extremely lively.
The content of "Da" also presents a completely different geographical appearance and completely different content due to the limited publicity and popularization of classic texts and the fact that "Da" is still circulated today in a traditional spoken society rather than a written society.
There was a debate in China academic circles about the compilation and compilation of epics half a century ago, and it was theoretically clear what the scientific principle of collection and collation is, that is, unconditional loyalty to the original text.
It is true that some epics contain elements of "compilation", such as Finland's "Kalevala", which was "woven" by Renlot based on a large collection of folk poetry and in accordance with the rules and rules of folk poetry.
However, it has been classified as a "tradition-oriented" text by academic circles.
It does not simply appear in the form of folk poetry, and its epic inheritance is not so-called "traditional".
Looking at the content of the classic text of "Da", there are only more than 500 lines.
Such a small mythical epic of creation has been successfully applied for the heritage.
In addition to the efforts of local elites and folk artists, experts and professors from colleges and universities have also actively participated in all aspects of the application.
Not only that, the local cultural bureau also made a strong and colorful campaign for the historical development of "Da".
In 2010, there was a passage on the display board inside the Dehong Prefecture Cultural Bureau building: "The Dagudaringlei Biography is circulated in Dehong Prefecture, Baoshan City, Lincang City and the Deang ethnic settlements on the Myanmar border.
It consists of six parts: 'Preface Song','Tea God descended to earth to give birth to mankind','Struggle between Light and Darkness','Overcoming Flood and Evil Forces','Origin of Hundred Flowers and Fruits and Origin of Waist Band' and 'Birth of Ancestors and Reproduction of Various Nationalities'(Obviously, there is no similar title for this division in the text I see.) In a unique way for the ancestors of the De 'ang tribe, it narrates the origin of heaven and earth, animals, plants, sun, moon, stars and humans, and describes the difficult journey of the De' ang tribe ancestors in fighting drought, floods, severe winter, and demons.
It reflects the origin of the tea totem of the De 'ang tribe ancestors and hints at the "radical revolution" that broke out during the transition from matriarchal system to patrilineal system.
It has been passed down orally from generation to generation by Deang folk priests.
About the 14th century later, the De 'ang people borrowed Dai script and produced a Dai script.
The total length was about 2000 lines, and the Chinese version was 556 lines.
After continuous processing and polishing by later generations, it became a classic that accumulates the historical tradition and national spirit of the De' ang people."In this passage," Dai script "is undoubtedly a completely new term, but after searching hard, the relevant person in charge of the Cultural Bureau replied: For the version of" Da ", what he saw was only the text published in" Shancha "magazine in 1981.
The Dai script is said to have been circulated in Shan State and Wa State in Myanmar.
The compilation of the Chinese version was all based on the recitation of Zhao Lalin of the Deang nationality of Lujiang Ba, Baoshan.
The person in charge also said that he himself had been looking for a manuscript of Tai script, but so far he had failed.
To sum up, in the process of internal compilation of Da, the traditional form has mutated.
On the premise of retaining the core plot, merger, new compilation, self-display, and concealment have become the methods used in internal compilation.
Therefore, the regional characteristics of Da are presented to the greatest extent.
After competition, aphasia, intercommunication and confusion, the external compilation of Da appeared more different from the traditional text, and the contemporary factors were thus highlighted to the greatest extent.
The traditional literature "Da" realizes the transformation, reorganization and reconstruction of traditional modernity in various ways.
In his book "Fundamentals of Cultural Studies", Australian scholar Jeff Lewis talked about the death of Diana, Princess of England.
He believed: "Diana, like other 'texts' and celebrities, is a product of media and culture.
The characters, events, celebrities and texts created through the media, no matter how local and transitory, have become a fundamental part of our culture." The content of "Da" is not only consistent with the idea of the De 'ang cultural elites to highlight the uniqueness of their own culture, but also echoes the cultural values of the people in most traditional communities.
Through the success of "Da" application, ordinary people in traditional communities have seen the cultural value of their own nation."Da" has risen from a literary form to a "sacred object" to villagers, and the resulting content is not just text.
There is also the nation's intuition, subconscious, unconscious, feeling, emotion, spirit, imagination, etc., which is an "imaging" of the convergence of consciousness at all levels of national understanding and meaning generation.
The rationality or irrationality of the content of modern knowledge and the necessity and unnecessary dissemination involve the relationship between the leader and the dominated of knowledge, which has the factor of power.
Power leads to cultural identification, and this "identification" is also identification of identity.
Its answer is "Who are we?" The problem is to "define oneself by ancestors, religion, language, history, values, customs and systems", and use a certain symbol as a symbol to express one's cultural identity.
For the De 'ang people, the mythical epic of creation "Da" is a symbolic symbol of cultural identity and identity identification."Da" is the affirmative recognition of the most meaningful things for the nation formed by people living together for a long time in a national community; It is the spiritual bond that unites this national community and the spiritual foundation for the continuation of the life of this national community.
Therefore,"Da" was formed during the evolution of the national community, and at the same time it is enriched and continuously developed with the development of the national community.
The changes of "Da" highlight the emphasis on the right to speak in folk culture as a cultural and ecological village in Santai Mountain Township.
By placing the literary work "Da", one of the intangible protected heritages of the De 'ang people, in a dynamic network jointly constructed by Santai Mountain Township and the social elites of the De' ang people, we will find that contemporary folk culture is in the presence of multiple forces.
In the negotiation and competition, folk culture has transformed from a culture of self-enjoyment by cultural subjects to a culture shared by the masses and a culture shared by the "others".
A comprehensive examination of the status, experience, circumstances, and status of the inheritor of "Da" The complex relationship between personality factors such as mentality and the content they sing is obviously presented to the individual identities of people through the interpretation of "Da" with distinctive characteristics of flesh and blood.
In this process, folk literature, art, festivals and folk activities have all shifted from the edge of social culture to the relative center.
Through the spread of "Da", the traditional community as the action field has its living world emphasized and highlighted.
(The original text was published in "Southwest Border Ethnic Studies", No.
1, 2018, with the annotations omitted, and refer to the original issue for details)