"The Great Story" Tan Jinshan

"someone's heart is filled with old-fashioned sperm bones, that's all." wu xiao tian, a man who talks in the field and tells stories, says his name, which is likely to enter the list of the country's first intangible cultural heritage.

his name is tan jinshan, and he lives in newminster's homeyard, where he has lived for 80 years since he was born.

tan zhenshan, known by foreign and chinese folklore scientists as “storyman”, said that he was a farmer.

on 9 september, on the basis of, inter alia, the circular of the ministry of culture on the declaration of the first national intangible cultural heritage representatives, we recommended 38 projects, of which shen yang accounted for five.

tan zhenshan oral literature entered the national finals with tang-pi-king art, the three major genres of korean, han, han, shuu, northeast drums, and the traditional white wine brewing process.

this is tan zhenshan, who was brought to the fore again after having been invited by the mayor of farno, japan, in 1992 to attend the “92 world civil story fair”.

on 15 september, journalists met tan zhenshan in a normal farm yard in the palacio, an old man full of silver hair, a tall, glamorous man dressed in grey middle mountains.

there is a newspaper on tan's top, and a page on the 60th anniversary of the victory.

the 80-year-old never wears glasses for reading.

it's a story, a tree, a grass, a bay creek.

he didn't like to talk about the bad days of the past, we talked about it, and his story was interrupted.

it seems that there are only stories in his life, and almost every story has the same centre — good intentions and good deeds.

according to tan, this is the nature of the crop.

the chinese morning journal (hereinafter: "tan, you've been telling a story for 60 years?"

tan jinshan (hereinafter "tan chang"): well, the paper says i've been telling stories since i was 20 years old, but i've been learning stories since i was in my teens and i've been telling them.

morning post: do you remember how many stories you told? tan: not exactly.

in previous years, i was given a book by a number of folk professors called " chinese folklore integration liao ning rolls - a tsing mountain story selection" — 1988.

morning post: you just learned stories from teens.

you learn to tell a story? with whom? tan: if you have to learn the story, you have to study the tone, the look on your face.

my grandma owns a big car store, she listens to everything, remembers it, holds me.

i learned a lot from her about local wind and life.

i also have a man who's learned a lot from him。and the neighborhood of the village, as long as i've heard it once.

morning post: you just mentioned those categories of stories, right? what are the categories? tan: i've got a lot of stories, i'll sort them myself.

i just told you about the local wind, the fox, the life class, the legends of historical figures, the fantasy stories.

morning post: you say your story is learned from grandma and other elders of the peace house, and it feels like everyone here is special about telling stories.

tan: yeah, i was 80 years old, and i grew up listening to stories.

morning paper: can you tell us about the peace? tan: this is a place of spirituality, a farm of nurhach.

on the west side of the house, there was a squirt bubble, and nurha had it sealed as a "copper-coated bottom-drinking horse pit" and the lake would never dry.

morning: has it been a long time? now, is the squirt still there? squid and, uh, just dry, we're fixing the reservoir.

morning post: many of the stories you're telling me are mythical, especially about the peace.

tan: the village likes to hear this story.

a story can tell a national identity.

according to tan, storytelling is a pleasure for our rural people in the northeast.

this is explained in a more systematic way in the book chinese folk culture: “cultural narratives, which refer to the artistic narratives of the people, are a language and art that the people of china collectively create and orally transmit, and are written in the form of oral literature in the form of words, which reflect the life of human society and the ideal aspirations of the people.”

morning post: you always tell stories, but you don't make them sound like shit.

tan: it's nothing to tell a story.

i love it.

it's like singing and painting, but someone is so good that they become singers and painters.

morning: so you became a famous storyteller.

when you start telling stories, do you know this is a culture? tan: don't know.

it's just the rural people.

it's nothing.

morning post: now you and your story are running for intangible cultural heritage, now you know it's a culture? tan: yes.

i knew it when i wrote my story in 1988.

later in 1992, he was asked to speak in japan, and i know that this was a university question.

morning post: what kind of university? tan: these are the stories of our farmers' culture and rural customs.

foreigners study our customs。like the mayor of the japanese city of amano, who listened to my story, he said, “you china are civilized nations, and you are ancient, and children are taught to be good and to be grateful.”

morning post: are you saying that this folk culture reflects our national identity? tan: yes, you culture will.

morning: how many years have you read? tan: 6 years, primary school.

morning post: and then you've been making farmer land? old tan: oh, young, japan, war, chaos.

i've been through a lot.

at the age of 20, japanese soldiers were arrested for cadets and later captured by the national party.

returned home, became an instrument in the village and later an accountant.

morning: was it a tough day to get caught? you didn't hear the story in those years, did you? trump: speak, too.

(chuckling) at the hands of the japanese, there's not enough to eat.

i used to tell a joke to one of my students, and i only eat buns.

who's going to pass on "the king of story"? turning to the future of oral literature, tan is a bit silent, saying that there are fewer people who listen to the story and fewer who tell it, but these things must not be lost.

morning post: we are now trying to apply for tan jinshan oral literature as an intangible cultural heritage.

will anyone inherit this inheritance? would anyone like to inherit? old things can't be lost.

morning post: how many of your 5 sons and 13 grandchildren would like to learn stories from you? tan: four boys like to talk.

morning post: where are the others? it's true that there are fewer people to listen to and speak to.

morning post: ask a question you might not like to hear.

do you think you'll ever hear another such story? i mean, are these stories slowly lost? tan: it's a legacy if nobody talks.

but these things can't be lost.

now it's all out, and a college is about to come up with a collection of my stories.

morning: do you think it's useful to remember these old stories? tan: it doesn't work, it doesn't work.

there's always something in the mind.

the old saying is, "it's the best and the best." now some tv dramas are messing up history, and kids don't know what history really is.

what do young people do when they're busy? just playing mahjong.

gambling's crazy.

morning: don't you like playing mahjong? tan: i can't play.

i've seen it.

i think that's how i teach people how to figure out what to do.

in those stories, there's never anything to teach people how to figure out.

these old traditions are that science is developed and cannot change.

a life without gambling, a lifetime without smoking, a lifetime of fun is telling stories.

although there are fewer listeners and fewer talkers, the old man laughs: “when old things are old, they become obsolete。as long as someone remembers that someone still has those old-fashioned bones in their hearts.” it appears that the old man, who has only read six years of books, has a better understanding of the transmission of traditional culture.

i'm sorry