Liu Sanjies Ballads

Liu Sanjies Ballads The origin of folk songs

To explore the origin of Liu Sanjie's folk songs, we can start with the origin of Zhuang ethnic song festivals. Gewei is a platform for the dissemination of Liu Sanjie's folk songs. Without this platform, Liu Sanjie's folk songs are difficult to inherit.

There are several views in the academic community regarding the origin of the Song Fair, and one consensus is that the Song Fair of the Zhuang ethnic group originated from primitive society. Gewei is just a platform for showcasing folk songs. As the main body of the Song Fair, Liu Sanjie's folk songs should have sprouted before the emergence of the Song Fair.

The Zhuang ethnic group originated from the ancient Chinese ethnic minorities of Xi'ou and Luoyue. Due to the uneven historical development of various ethnic groups, especially due to regional reasons, while the feudal culture in the Central Plains was flourishing, the economy and culture of Lingnan, where the ancestors of the Zhuang ethnic group lived, were still very backward.

According to Volume 2 of Zhang Hua's "Records of Natural History" during the Western Jin Dynasty, "There were wild women in Kounan who searched for husbands in groups... naked and without clothing." The term "Rinan" here refers to the Rinan County established by the Western Han Dynasty, located in Ding. Today, in Vietnam, it can be seen from the records of "naked and without clothing" and "searching for husbands in groups" that people in this area still lived in primitive society and retained the dual marriage system of clans or tribal clans. So, these women cannot marry men within their clan and must collectively go to other clan tribes to find husbands. This kind of collective search for husbands is a prerequisite for the existence and development of the Song Market.

Liu Sanjies Ballads developing process

Before the Tang Dynasty, the custom of "marriage without matchmaker" and "singing for marriage" was still popular in Zhuang areas. People used songs as a medium to choose a spouse, and the Song Market became an ideal place for young men and women to chat and choose a spouse.

After the Song Dynasty, the Zhuangxiang Song Market continued to develop. Many works, such as Zhou Qubei's "Lingwai Daida" in the Song Dynasty, "Taiping Huanyu Ji" in music history, Wang Ji's "Ri Xun Shoujing" in the Ming Dynasty, and a large number of local chronicles, all have records of the Song Market. Some poems and writings vividly describe the prosperity of the Song Market. For example, Kuang Lu's "Chiya" in the Ming Dynasty wrote: "Those who gather together to form a village are called caves. During the Spring and Autumn Period, the women of the cave were known for their flower, fruit, sheng, and xiao performances on famous mountains. They used five threads of thorns to form a knot in the heart and a hundred knots of mandarin ducks. They selected the few who were good in the cave and accompanied the daughters of the cave officials, known as Tianji Squad. The rest were three, three, five, and five, picking up fragrant flowers and picking up green flowers on the banks of the Jiaoshui River. They sang to the music of two men and three, five groups, and went there to sing. If they found each other, they sang to Jingri, untied their clothes and tied their belts, and gave each other away. This indicates that during the Ming Dynasty, the custom of Zhuang people singing for marriage was still continuing, and the song fair was very prosperous. Singing Liu Yi's songs was the main way for young men and women to.

In the Qing Dynasty, the Qing Dynasty scholar Lu Zuofan wrote in his book "Yue Liang Nian Ji" that the customs in Zhuang Township were still focused on singing, wearing heavy makeup and beautiful clothes, crossing the mountains and crossing the paths, and singing in the deep forests and bamboo groves where men and women were mixed. When singing, the clouds did not flow, and it was called Hui Lang. At this time, the Zhuang Township Song Fair was larger in scale, with lovers meeting and enjoying songs as a medium. The trend of using songs as a medium seemed to be more prosperous, and the flourishing development of the Song Fair continued until the 1950s.

The dissemination of Liu Sanjie's folk songs was not smooth sailing. In the Ming and Qing dynasties, the "returning the land to the flow" policy was implemented in the Zhuang ethnic areas, and the feudal ruling forces represented by imperial power penetrated deep into the female ethnic areas. The dissemination of Liu Sanjie's folk songs conflicted with feudal ethics. Feudal rulers regarded the practice of Zhuang men and women "choosing a spouse according to songs" as a vulgar behavior and repeatedly banned it. They tried to prevent the dissemination of Liu Sanjie's folk songs. According to the "Annals of Zhen'an Prefecture", "the families of the local people married frugally, followed rituals without extravagance, and the trend was close to ancient times. However, the style of the Song Market still followed the custom of Yan people jumping and shaking the moon. Although it was strictly prohibited, it could not be completely reformed... It was quite a bad trend. Li Yanzhang, the governor of Si'en in Guangxi during the Qing Dynasty, also posted a notice prohibiting song festivals. At the end of the Qing Dynasty, officials of Donglan Prefecture believed that Liu Sanjie's songs were "romantic songs". In order to ban song fairs, they captured local Zhuang female singers, painted their faces with paint, and paraded around the streets forever. Liu Sanjie's songs were repeatedly banned. The more people who banned them, the more singers faced the government's attack and persecution, and angrily sang: "Big stars in the sky govern small stars, marshals on the ground govern general soldiers, and only prefectures govern Supervisor of the County, who dares to control my singers!"

In the year of the Republic of China, the government was still banning songs, and there were multiple incidents of song bans in Guangxi. "Folk songs have been sung by the people since ancient times, and there is no reason for the ban on singing mountain songs." Faced with the rulers' continuous ban on song movements, Liu San's group of songs have been circulating, and the song fair in Zhuang Township has developed with the development of the times.

Liu Sanjies Ballads The origin of folk songs

To explore the origin of Liu Sanjie's folk songs, we can start with the origin of Zhuang ethnic song festivals. Gewei is a platform for the dissemination of Liu Sanjie's folk songs. Without this platform, Liu Sanjie's folk songs are difficult to inherit.

There are several views in the academic community regarding the origin of the Song Fair, and one consensus is that the Song Fair of the Zhuang ethnic group originated from primitive society. Gewei is just a platform for showcasing folk songs. As the main body of the Song Fair, Liu Sanjie's folk songs should have sprouted before the emergence of the Song Fair.

The Zhuang ethnic group originated from the ancient Chinese ethnic minorities of Xi'ou and Luoyue. Due to the uneven historical development of various ethnic groups, especially due to regional reasons, while the feudal culture in the Central Plains was flourishing, the economy and culture of Lingnan, where the ancestors of the Zhuang ethnic group lived, were still very backward.

According to Volume 2 of Zhang Hua's "Records of Natural History" during the Western Jin Dynasty, "There were wild women in Kounan who searched for husbands in groups... naked and without clothing." The term "Rinan" here refers to the Rinan County established by the Western Han Dynasty, located in Ding. Today, in Vietnam, it can be seen from the records of "naked and without clothing" and "searching for husbands in groups" that people in this area still lived in primitive society and retained the dual marriage system of clans or tribal clans. So, these women cannot marry men within their clan and must collectively go to other clan tribes to find husbands. This kind of collective search for husbands is a prerequisite for the existence and development of the Song Market.

Liu Sanjies Ballads developing process

Before the Tang Dynasty, the custom of "marriage without matchmaker" and "singing for marriage" was still popular in Zhuang areas. People used songs as a medium to choose a spouse, and the Song Market became an ideal place for young men and women to chat and choose a spouse.

After the Song Dynasty, the Zhuangxiang Song Market continued to develop. Many works, such as Zhou Qubei's "Lingwai Daida" in the Song Dynasty, "Taiping Huanyu Ji" in music history, Wang Ji's "Ri Xun Shoujing" in the Ming Dynasty, and a large number of local chronicles, all have records of the Song Market. Some poems and writings vividly describe the prosperity of the Song Market. For example, Kuang Lu's "Chiya" in the Ming Dynasty wrote: "Those who gather together to form a village are called caves. During the Spring and Autumn Period, the women of the cave were known for their flower, fruit, sheng, and xiao performances on famous mountains. They used five threads of thorns to form a knot in the heart and a hundred knots of mandarin ducks. They selected the few who were good in the cave and accompanied the daughters of the cave officials, known as Tianji Squad. The rest were three, three, five, and five, picking up fragrant flowers and picking up green flowers on the banks of the Jiaoshui River. They sang to the music of two men and three, five groups, and went there to sing. If they found each other, they sang to Jingri, untied their clothes and tied their belts, and gave each other away. This indicates that during the Ming Dynasty, the custom of Zhuang people singing for marriage was still continuing, and the song fair was very prosperous. Singing Liu Yi's songs was the main way for young men and women to.

In the Qing Dynasty, the Qing Dynasty scholar Lu Zuofan wrote in his book "Yue Liang Nian Ji" that the customs in Zhuang Township were still focused on singing, wearing heavy makeup and beautiful clothes, crossing the mountains and crossing the paths, and singing in the deep forests and bamboo groves where men and women were mixed. When singing, the clouds did not flow, and it was called Hui Lang. At this time, the Zhuang Township Song Fair was larger in scale, with lovers meeting and enjoying songs as a medium. The trend of using songs as a medium seemed to be more prosperous, and the flourishing development of the Song Fair continued until the 1950s.

The dissemination of Liu Sanjie's folk songs was not smooth sailing. In the Ming and Qing dynasties, the "returning the land to the flow" policy was implemented in the Zhuang ethnic areas, and the feudal ruling forces represented by imperial power penetrated deep into the female ethnic areas. The dissemination of Liu Sanjie's folk songs conflicted with feudal ethics. Feudal rulers regarded the practice of Zhuang men and women "choosing a spouse according to songs" as a vulgar behavior and repeatedly banned it. They tried to prevent the dissemination of Liu Sanjie's folk songs. According to the "Annals of Zhen'an Prefecture", "the families of the local people married frugally, followed rituals without extravagance, and the trend was close to ancient times. However, the style of the Song Market still followed the custom of Yan people jumping and shaking the moon. Although it was strictly prohibited, it could not be completely reformed... It was quite a bad trend. Li Yanzhang, the governor of Si'en in Guangxi during the Qing Dynasty, also posted a notice prohibiting song festivals. At the end of the Qing Dynasty, officials of Donglan Prefecture believed that Liu Sanjie's songs were "romantic songs". In order to ban song fairs, they captured local Zhuang female singers, painted their faces with paint, and paraded around the streets forever. Liu Sanjie's songs were repeatedly banned. The more people who banned them, the more singers faced the government's attack and persecution, and angrily sang: "Big stars in the sky govern small stars, marshals on the ground govern general soldiers, and only prefectures govern Supervisor of the County, who dares to control my singers!"

In the year of the Republic of China, the government was still banning songs, and there were multiple incidents of song bans in Guangxi. "Folk songs have been sung by the people since ancient times, and there is no reason for the ban on singing mountain songs." Faced with the rulers' continuous ban on song movements, Liu San's group of songs have been circulating, and the song fair in Zhuang Township has developed with the development of the times.

Liu Sanjies Ballads The origin of folk songs

To explore the origin of Liu Sanjie's folk songs, we can start with the origin of Zhuang ethnic song festivals. Gewei is a platform for the dissemination of Liu Sanjie's folk songs. Without this platform, Liu Sanjie's folk songs are difficult to inherit.

There are several views in the academic community regarding the origin of the Song Fair, and one consensus is that the Song Fair of the Zhuang ethnic group originated from primitive society. Gewei is just a platform for showcasing folk songs. As the main body of the Song Fair, Liu Sanjie's folk songs should have sprouted before the emergence of the Song Fair.

The Zhuang ethnic group originated from the ancient Chinese ethnic minorities of Xi'ou and Luoyue. Due to the uneven historical development of various ethnic groups, especially due to regional reasons, while the feudal culture in the Central Plains was flourishing, the economy and culture of Lingnan, where the ancestors of the Zhuang ethnic group lived, were still very backward.

According to Volume 2 of Zhang Hua's "Records of Natural History" during the Western Jin Dynasty, "There were wild women in Kounan who searched for husbands in groups... naked and without clothing." The term "Rinan" here refers to the Rinan County established by the Western Han Dynasty, located in Ding. Today, in Vietnam, it can be seen from the records of "naked and without clothing" and "searching for husbands in groups" that people in this area still lived in primitive society and retained the dual marriage system of clans or tribal clans. So, these women cannot marry men within their clan and must collectively go to other clan tribes to find husbands. This kind of collective search for husbands is a prerequisite for the existence and development of the Song Market.

Liu Sanjies Ballads developing process

Before the Tang Dynasty, the custom of "marriage without matchmaker" and "singing for marriage" was still popular in Zhuang areas. People used songs as a medium to choose a spouse, and the Song Market became an ideal place for young men and women to chat and choose a spouse.

After the Song Dynasty, the Zhuangxiang Song Market continued to develop. Many works, such as Zhou Qubei's "Lingwai Daida" in the Song Dynasty, "Taiping Huanyu Ji" in music history, Wang Ji's "Ri Xun Shoujing" in the Ming Dynasty, and a large number of local chronicles, all have records of the Song Market. Some poems and writings vividly describe the prosperity of the Song Market. For example, Kuang Lu's "Chiya" in the Ming Dynasty wrote: "Those who gather together to form a village are called caves. During the Spring and Autumn Period, the women of the cave were known for their flower, fruit, sheng, and xiao performances on famous mountains. They used five threads of thorns to form a knot in the heart and a hundred knots of mandarin ducks. They selected the few who were good in the cave and accompanied the daughters of the cave officials, known as Tianji Squad. The rest were three, three, five, and five, picking up fragrant flowers and picking up green flowers on the banks of the Jiaoshui River. They sang to the music of two men and three, five groups, and went there to sing. If they found each other, they sang to Jingri, untied their clothes and tied their belts, and gave each other away. This indicates that during the Ming Dynasty, the custom of Zhuang people singing for marriage was still continuing, and the song fair was very prosperous. Singing Liu Yi's songs was the main way for young men and women to.

In the Qing Dynasty, the Qing Dynasty scholar Lu Zuofan wrote in his book "Yue Liang Nian Ji" that the customs in Zhuang Township were still focused on singing, wearing heavy makeup and beautiful clothes, crossing the mountains and crossing the paths, and singing in the deep forests and bamboo groves where men and women were mixed. When singing, the clouds did not flow, and it was called Hui Lang. At this time, the Zhuang Township Song Fair was larger in scale, with lovers meeting and enjoying songs as a medium. The trend of using songs as a medium seemed to be more prosperous, and the flourishing development of the Song Fair continued until the 1950s.

The dissemination of Liu Sanjie's folk songs was not smooth sailing. In the Ming and Qing dynasties, the "returning the land to the flow" policy was implemented in the Zhuang ethnic areas, and the feudal ruling forces represented by imperial power penetrated deep into the female ethnic areas. The dissemination of Liu Sanjie's folk songs conflicted with feudal ethics. Feudal rulers regarded the practice of Zhuang men and women "choosing a spouse according to songs" as a vulgar behavior and repeatedly banned it. They tried to prevent the dissemination of Liu Sanjie's folk songs. According to the "Annals of Zhen'an Prefecture", "the families of the local people married frugally, followed rituals without extravagance, and the trend was close to ancient times. However, the style of the Song Market still followed the custom of Yan people jumping and shaking the moon. Although it was strictly prohibited, it could not be completely reformed... It was quite a bad trend. Li Yanzhang, the governor of Si'en in Guangxi during the Qing Dynasty, also posted a notice prohibiting song festivals. At the end of the Qing Dynasty, officials of Donglan Prefecture believed that Liu Sanjie's songs were "romantic songs". In order to ban song fairs, they captured local Zhuang female singers, painted their faces with paint, and paraded around the streets forever. Liu Sanjie's songs were repeatedly banned. The more people who banned them, the more singers faced the government's attack and persecution, and angrily sang: "Big stars in the sky govern small stars, marshals on the ground govern general soldiers, and only prefectures govern Supervisor of the County, who dares to control my singers!"

In the year of the Republic of China, the government was still banning songs, and there were multiple incidents of song bans in Guangxi. "Folk songs have been sung by the people since ancient times, and there is no reason for the ban on singing mountain songs." Faced with the rulers' continuous ban on song movements, Liu San's group of songs have been circulating, and the song fair in Zhuang Township has developed with the development of the times.

Liu Sanjies Ballads The origin of folk songs

To explore the origin of Liu Sanjie's folk songs, we can start with the origin of Zhuang ethnic song festivals. Gewei is a platform for the dissemination of Liu Sanjie's folk songs. Without this platform, Liu Sanjie's folk songs are difficult to inherit.

There are several views in the academic community regarding the origin of the Song Fair, and one consensus is that the Song Fair of the Zhuang ethnic group originated from primitive society. Gewei is just a platform for showcasing folk songs. As the main body of the Song Fair, Liu Sanjie's folk songs should have sprouted before the emergence of the Song Fair.

The Zhuang ethnic group originated from the ancient Chinese ethnic minorities of Xi'ou and Luoyue. Due to the uneven historical development of various ethnic groups, especially due to regional reasons, while the feudal culture in the Central Plains was flourishing, the economy and culture of Lingnan, where the ancestors of the Zhuang ethnic group lived, were still very backward.

According to Volume 2 of Zhang Hua's "Records of Natural History" during the Western Jin Dynasty, "There were wild women in Kounan who searched for husbands in groups... naked and without clothing." The term "Rinan" here refers to the Rinan County established by the Western Han Dynasty, located in Ding. Today, in Vietnam, it can be seen from the records of "naked and without clothing" and "searching for husbands in groups" that people in this area still lived in primitive society and retained the dual marriage system of clans or tribal clans. So, these women cannot marry men within their clan and must collectively go to other clan tribes to find husbands. This kind of collective search for husbands is a prerequisite for the existence and development of the Song Market.

Liu Sanjies Ballads developing process

Before the Tang Dynasty, the custom of "marriage without matchmaker" and "singing for marriage" was still popular in Zhuang areas. People used songs as a medium to choose a spouse, and the Song Market became an ideal place for young men and women to chat and choose a spouse.

After the Song Dynasty, the Zhuangxiang Song Market continued to develop. Many works, such as Zhou Qubei's "Lingwai Daida" in the Song Dynasty, "Taiping Huanyu Ji" in music history, Wang Ji's "Ri Xun Shoujing" in the Ming Dynasty, and a large number of local chronicles, all have records of the Song Market. Some poems and writings vividly describe the prosperity of the Song Market. For example, Kuang Lu's "Chiya" in the Ming Dynasty wrote: "Those who gather together to form a village are called caves. During the Spring and Autumn Period, the women of the cave were known for their flower, fruit, sheng, and xiao performances on famous mountains. They used five threads of thorns to form a knot in the heart and a hundred knots of mandarin ducks. They selected the few who were good in the cave and accompanied the daughters of the cave officials, known as Tianji Squad. The rest were three, three, five, and five, picking up fragrant flowers and picking up green flowers on the banks of the Jiaoshui River. They sang to the music of two men and three, five groups, and went there to sing. If they found each other, they sang to Jingri, untied their clothes and tied their belts, and gave each other away. This indicates that during the Ming Dynasty, the custom of Zhuang people singing for marriage was still continuing, and the song fair was very prosperous. Singing Liu Yi's songs was the main way for young men and women to.

In the Qing Dynasty, the Qing Dynasty scholar Lu Zuofan wrote in his book "Yue Liang Nian Ji" that the customs in Zhuang Township were still focused on singing, wearing heavy makeup and beautiful clothes, crossing the mountains and crossing the paths, and singing in the deep forests and bamboo groves where men and women were mixed. When singing, the clouds did not flow, and it was called Hui Lang. At this time, the Zhuang Township Song Fair was larger in scale, with lovers meeting and enjoying songs as a medium. The trend of using songs as a medium seemed to be more prosperous, and the flourishing development of the Song Fair continued until the 1950s.

The dissemination of Liu Sanjie's folk songs was not smooth sailing. In the Ming and Qing dynasties, the "returning the land to the flow" policy was implemented in the Zhuang ethnic areas, and the feudal ruling forces represented by imperial power penetrated deep into the female ethnic areas. The dissemination of Liu Sanjie's folk songs conflicted with feudal ethics. Feudal rulers regarded the practice of Zhuang men and women "choosing a spouse according to songs" as a vulgar behavior and repeatedly banned it. They tried to prevent the dissemination of Liu Sanjie's folk songs. According to the "Annals of Zhen'an Prefecture", "the families of the local people married frugally, followed rituals without extravagance, and the trend was close to ancient times. However, the style of the Song Market still followed the custom of Yan people jumping and shaking the moon. Although it was strictly prohibited, it could not be completely reformed... It was quite a bad trend. Li Yanzhang, the governor of Si'en in Guangxi during the Qing Dynasty, also posted a notice prohibiting song festivals. At the end of the Qing Dynasty, officials of Donglan Prefecture believed that Liu Sanjie's songs were "romantic songs". In order to ban song fairs, they captured local Zhuang female singers, painted their faces with paint, and paraded around the streets forever. Liu Sanjie's songs were repeatedly banned. The more people who banned them, the more singers faced the government's attack and persecution, and angrily sang: "Big stars in the sky govern small stars, marshals on the ground govern general soldiers, and only prefectures govern Supervisor of the County, who dares to control my singers!"

In the year of the Republic of China, the government was still banning songs, and there were multiple incidents of song bans in Guangxi. "Folk songs have been sung by the people since ancient times, and there is no reason for the ban on singing mountain songs." Faced with the rulers' continuous ban on song movements, Liu San's group of songs have been circulating, and the song fair in Zhuang Township has developed with the development of the times.

Liu Sanjies Ballads The origin of folk songs

To explore the origin of Liu Sanjie's folk songs, we can start with the origin of Zhuang ethnic song festivals. Gewei is a platform for the dissemination of Liu Sanjie's folk songs. Without this platform, Liu Sanjie's folk songs are difficult to inherit.

There are several views in the academic community regarding the origin of the Song Fair, and one consensus is that the Song Fair of the Zhuang ethnic group originated from primitive society. Gewei is just a platform for showcasing folk songs. As the main body of the Song Fair, Liu Sanjie's folk songs should have sprouted before the emergence of the Song Fair.

The Zhuang ethnic group originated from the ancient Chinese ethnic minorities of Xi'ou and Luoyue. Due to the uneven historical development of various ethnic groups, especially due to regional reasons, while the feudal culture in the Central Plains was flourishing, the economy and culture of Lingnan, where the ancestors of the Zhuang ethnic group lived, were still very backward.

According to Volume 2 of Zhang Hua's "Records of Natural History" during the Western Jin Dynasty, "There were wild women in Kounan who searched for husbands in groups... naked and without clothing." The term "Rinan" here refers to the Rinan County established by the Western Han Dynasty, located in Ding. Today, in Vietnam, it can be seen from the records of "naked and without clothing" and "searching for husbands in groups" that people in this area still lived in primitive society and retained the dual marriage system of clans or tribal clans. So, these women cannot marry men within their clan and must collectively go to other clan tribes to find husbands. This kind of collective search for husbands is a prerequisite for the existence and development of the Song Market.

Liu Sanjies Ballads developing process

Before the Tang Dynasty, the custom of "marriage without matchmaker" and "singing for marriage" was still popular in Zhuang areas. People used songs as a medium to choose a spouse, and the Song Market became an ideal place for young men and women to chat and choose a spouse.

After the Song Dynasty, the Zhuangxiang Song Market continued to develop. Many works, such as Zhou Qubei's "Lingwai Daida" in the Song Dynasty, "Taiping Huanyu Ji" in music history, Wang Ji's "Ri Xun Shoujing" in the Ming Dynasty, and a large number of local chronicles, all have records of the Song Market. Some poems and writings vividly describe the prosperity of the Song Market. For example, Kuang Lu's "Chiya" in the Ming Dynasty wrote: "Those who gather together to form a village are called caves. During the Spring and Autumn Period, the women of the cave were known for their flower, fruit, sheng, and xiao performances on famous mountains. They used five threads of thorns to form a knot in the heart and a hundred knots of mandarin ducks. They selected the few who were good in the cave and accompanied the daughters of the cave officials, known as Tianji Squad. The rest were three, three, five, and five, picking up fragrant flowers and picking up green flowers on the banks of the Jiaoshui River. They sang to the music of two men and three, five groups, and went there to sing. If they found each other, they sang to Jingri, untied their clothes and tied their belts, and gave each other away. This indicates that during the Ming Dynasty, the custom of Zhuang people singing for marriage was still continuing, and the song fair was very prosperous. Singing Liu Yi's songs was the main way for young men and women to.

In the Qing Dynasty, the Qing Dynasty scholar Lu Zuofan wrote in his book "Yue Liang Nian Ji" that the customs in Zhuang Township were still focused on singing, wearing heavy makeup and beautiful clothes, crossing the mountains and crossing the paths, and singing in the deep forests and bamboo groves where men and women were mixed. When singing, the clouds did not flow, and it was called Hui Lang. At this time, the Zhuang Township Song Fair was larger in scale, with lovers meeting and enjoying songs as a medium. The trend of using songs as a medium seemed to be more prosperous, and the flourishing development of the Song Fair continued until the 1950s.

The dissemination of Liu Sanjie's folk songs was not smooth sailing. In the Ming and Qing dynasties, the "returning the land to the flow" policy was implemented in the Zhuang ethnic areas, and the feudal ruling forces represented by imperial power penetrated deep into the female ethnic areas. The dissemination of Liu Sanjie's folk songs conflicted with feudal ethics. Feudal rulers regarded the practice of Zhuang men and women "choosing a spouse according to songs" as a vulgar behavior and repeatedly banned it. They tried to prevent the dissemination of Liu Sanjie's folk songs. According to the "Annals of Zhen'an Prefecture", "the families of the local people married frugally, followed rituals without extravagance, and the trend was close to ancient times. However, the style of the Song Market still followed the custom of Yan people jumping and shaking the moon. Although it was strictly prohibited, it could not be completely reformed... It was quite a bad trend. Li Yanzhang, the governor of Si'en in Guangxi during the Qing Dynasty, also posted a notice prohibiting song festivals. At the end of the Qing Dynasty, officials of Donglan Prefecture believed that Liu Sanjie's songs were "romantic songs". In order to ban song fairs, they captured local Zhuang female singers, painted their faces with paint, and paraded around the streets forever. Liu Sanjie's songs were repeatedly banned. The more people who banned them, the more singers faced the government's attack and persecution, and angrily sang: "Big stars in the sky govern small stars, marshals on the ground govern general soldiers, and only prefectures govern Supervisor of the County, who dares to control my singers!"

In the year of the Republic of China, the government was still banning songs, and there were multiple incidents of song bans in Guangxi. "Folk songs have been sung by the people since ancient times, and there is no reason for the ban on singing mountain songs." Faced with the rulers' continuous ban on song movements, Liu San's group of songs have been circulating, and the song fair in Zhuang Township has developed with the development of the times.

Liu Sanjies Ballads The origin of folk songs

To explore the origin of Liu Sanjie's folk songs, we can start with the origin of Zhuang ethnic song festivals. Gewei is a platform for the dissemination of Liu Sanjie's folk songs. Without this platform, Liu Sanjie's folk songs are difficult to inherit.

There are several views in the academic community regarding the origin of the Song Fair, and one consensus is that the Song Fair of the Zhuang ethnic group originated from primitive society. Gewei is just a platform for showcasing folk songs. As the main body of the Song Fair, Liu Sanjie's folk songs should have sprouted before the emergence of the Song Fair.

The Zhuang ethnic group originated from the ancient Chinese ethnic minorities of Xi'ou and Luoyue. Due to the uneven historical development of various ethnic groups, especially due to regional reasons, while the feudal culture in the Central Plains was flourishing, the economy and culture of Lingnan, where the ancestors of the Zhuang ethnic group lived, were still very backward.

According to Volume 2 of Zhang Hua's "Records of Natural History" during the Western Jin Dynasty, "There were wild women in Kounan who searched for husbands in groups... naked and without clothing." The term "Rinan" here refers to the Rinan County established by the Western Han Dynasty, located in Ding. Today, in Vietnam, it can be seen from the records of "naked and without clothing" and "searching for husbands in groups" that people in this area still lived in primitive society and retained the dual marriage system of clans or tribal clans. So, these women cannot marry men within their clan and must collectively go to other clan tribes to find husbands. This kind of collective search for husbands is a prerequisite for the existence and development of the Song Market.

Liu Sanjies Ballads developing process

Before the Tang Dynasty, the custom of "marriage without matchmaker" and "singing for marriage" was still popular in Zhuang areas. People used songs as a medium to choose a spouse, and the Song Market became an ideal place for young men and women to chat and choose a spouse.

After the Song Dynasty, the Zhuangxiang Song Market continued to develop. Many works, such as Zhou Qubei's "Lingwai Daida" in the Song Dynasty, "Taiping Huanyu Ji" in music history, Wang Ji's "Ri Xun Shoujing" in the Ming Dynasty, and a large number of local chronicles, all have records of the Song Market. Some poems and writings vividly describe the prosperity of the Song Market. For example, Kuang Lu's "Chiya" in the Ming Dynasty wrote: "Those who gather together to form a village are called caves. During the Spring and Autumn Period, the women of the cave were known for their flower, fruit, sheng, and xiao performances on famous mountains. They used five threads of thorns to form a knot in the heart and a hundred knots of mandarin ducks. They selected the few who were good in the cave and accompanied the daughters of the cave officials, known as Tianji Squad. The rest were three, three, five, and five, picking up fragrant flowers and picking up green flowers on the banks of the Jiaoshui River. They sang to the music of two men and three, five groups, and went there to sing. If they found each other, they sang to Jingri, untied their clothes and tied their belts, and gave each other away. This indicates that during the Ming Dynasty, the custom of Zhuang people singing for marriage was still continuing, and the song fair was very prosperous. Singing Liu Yi's songs was the main way for young men and women to.

In the Qing Dynasty, the Qing Dynasty scholar Lu Zuofan wrote in his book "Yue Liang Nian Ji" that the customs in Zhuang Township were still focused on singing, wearing heavy makeup and beautiful clothes, crossing the mountains and crossing the paths, and singing in the deep forests and bamboo groves where men and women were mixed. When singing, the clouds did not flow, and it was called Hui Lang. At this time, the Zhuang Township Song Fair was larger in scale, with lovers meeting and enjoying songs as a medium. The trend of using songs as a medium seemed to be more prosperous, and the flourishing development of the Song Fair continued until the 1950s.

The dissemination of Liu Sanjie's folk songs was not smooth sailing. In the Ming and Qing dynasties, the "returning the land to the flow" policy was implemented in the Zhuang ethnic areas, and the feudal ruling forces represented by imperial power penetrated deep into the female ethnic areas. The dissemination of Liu Sanjie's folk songs conflicted with feudal ethics. Feudal rulers regarded the practice of Zhuang men and women "choosing a spouse according to songs" as a vulgar behavior and repeatedly banned it. They tried to prevent the dissemination of Liu Sanjie's folk songs. According to the "Annals of Zhen'an Prefecture", "the families of the local people married frugally, followed rituals without extravagance, and the trend was close to ancient times. However, the style of the Song Market still followed the custom of Yan people jumping and shaking the moon. Although it was strictly prohibited, it could not be completely reformed... It was quite a bad trend. Li Yanzhang, the governor of Si'en in Guangxi during the Qing Dynasty, also posted a notice prohibiting song festivals. At the end of the Qing Dynasty, officials of Donglan Prefecture believed that Liu Sanjie's songs were "romantic songs". In order to ban song fairs, they captured local Zhuang female singers, painted their faces with paint, and paraded around the streets forever. Liu Sanjie's songs were repeatedly banned. The more people who banned them, the more singers faced the government's attack and persecution, and angrily sang: "Big stars in the sky govern small stars, marshals on the ground govern general soldiers, and only prefectures govern Supervisor of the County, who dares to control my singers!"

In the year of the Republic of China, the government was still banning songs, and there were multiple incidents of song bans in Guangxi. "Folk songs have been sung by the people since ancient times, and there is no reason for the ban on singing mountain songs." Faced with the rulers' continuous ban on song movements, Liu San's group of songs have been circulating, and the song fair in Zhuang Township has developed with the development of the times.