Chapter 12 [Chapter Two] Bloom-2

Amidst a series of criticisms of Chinese modern folk songs, the supportive forces in the high-level cultural and literary circles gradually showed signs of changing their positions. Support has turned away.This is why critics believe that commercial intervention is the reason for the end of the folk song movement, but the fact that campus songs are the inheritance of the folk song movement makes the shift of high-level culture only a change of support, and does not change the idea of ​​young people "singing their own songs". The continuation of the original intention. Medium Part: Tamkang--"Summer Tide" 1. The experience we have learned over the years from the distant mountains and rivers makes me know that "China" and "tradition" should be separated, and "modernity" and "West" should be separated Now, I want to climb up and shout: "China is me, modernity is me!"--Folk singer Li Shuangze Li Shuangze was born in Jinjiang, Fujian in 1949. His father is an overseas Chinese from the Philippines.He came to Taiwan with his family when he was young, and started drawing, learning guitar and singing in middle school.After graduating from the Mathematics Department of Tamkang College of Arts and Sciences, he went to Spain and the United States to study painting.Under the influence of western music, he regularly sang western songs every week at the Columbia Cafe in Taipei after returning to Taiwan. He was known as "Taiwan's Bob Dylan".

At the end of 1973, Li Shuangze met the well-known singer Hu Defu, and then together they planned Hu Defu's "Beautiful Rice Ears" concert in 1974, which was the folk song concert where Yang Xian officially released his work "Four Rhymes of Nostalgia" for the first time.From then on, Li Shuangze and Hu Defu decided to work together "to write and sing their own songs".According to Li Shuangze’s article "Where did the song come from" describe the scene of being together with Hu Defu and Yang Xian in that winter: On a winter night, the restaurant in Luoshidi ended the music, and there was a drizzle outside the door. It was a good time, you can For our own exercise.I don't know who sang Yang Sanlang's "Night Rain in Hong Kong City": "Tonight is a little wind and rain again. In a city in a foreign land, the street lights are green, shining on the water droplets, calling my heart; a young man, I don't know where I am going. "It's desolate, it's really the voice of the heart!Sad and shameful, why can't our generation sing songs in our own language?In the midst of his sighs, Hu Defu suddenly uttered a piano sound: "Fishing, swimming, swimming..." He murmured, his voice still choked in his throat.

"Sing, Kempo, sing loudly!" "Ijustcant!" Hu Defu closed the piano dejectedly. Yes, we are incompetent, our generation cannot sing songs in our own language, what a shame, the note vocabulary in our heads has been raped!Yang Xian brought Yu Guangzhong's poem and asked to publish it in Hu Defu's folk song concert. He made the first informal introduction at the coffee seat of the Columbia Commercial Promotion Center: "Give me a ladle of Yangtze River water, Yangtze River water... ..." Another man of courage.Yang Xian dared to sing the poem that he couldn't sing, and he could ignore someone scolding in the audience: "Damn you, the Yangtze River is round or flat, you know a bird!" Sing!You can sing any song, but where are the poets?The world is difficult, and they all returned to God? (Note: The above information comes from Li Shuangze's column on Xiachao.com) Li Shuangze's "Where does the song come from" can be found on Xiachao.com.At the end of the article, he said: "I want to dedicate this article to the friends of the former Aquarius Club, and to commemorate the first Tamkang folk song concert--that is also the first time for a college in the North District. Tell the people behind us: We have worked hard to walk a wrong road." There is no way to know Li Shuangze's mood when he wrote this article, and what he thinks is the "wrong" road.But in this text, the desolation and sadness make readers realize how heavy the responsibility this young man who died young was.

In October 1976, Li Shuangze, who traveled and studied abroad, returned to Taiwan.The Danjiang folk song concert he mentioned in the article was the place where the "Coca-Cola incident" that attracted widespread attention to Li Shuangze occurred.Some views even believe that Li Shuangze's dropping of a Coca-Cola bottle at a concert to protest against singing Western songs was a symbolic event that led to the beginning of Taiwan's modern folk song movement.There have been several versions of the "Coca-Cola Incident". According to Zhang Zhaowei's "Who Sings His Own Song Over There--A History of Taiwan's Modern Folk Song Movement", the situation at that time was like this: in the winter of 1976, just like other universities The student activities were average. Tamkang College of Arts and Sciences, located in Tamsui Town near the Taipei Basin, held a concert featuring Western folk songs. The host was Tao Xiaoqing, who was quite famous at the time.

The show progressed to the second singer, Li Shuangze, an alumnus of Tamkang.In addition to the guitar, he also brought a Coca-Cola bottle to the stage; he first had a short question-and-answer session with the audience, the first singer, and Tao Xiaoqing. The general idea is as follows: Li (to the audience): Returning from abroad I'm really happy to be in the land of China, but what I'm drinking now is Coca-Cola... (To the first singer) You, a Chinese, sing foreign songs, how does it feel?The first singer: As long as the melody is good, I can sing Chinese songs and foreign songs. Li: Well, let's ask Ms. Tao, who is hosting today, to answer this question.She has hosted the show for more than ten years, and she will definitely give us a satisfactory answer.

Tao: I came to host the show today, but I didn’t expect to have an exam! It’s not that we don’t sing our own songs, but where are the modern folk songs in China? Li: Huang Chunming said in his "Native Country Suite": " Before we have the ability to write our own songs, we should keep singing the songs of our predecessors until we can write our own." Tao: Then, we ask you to sing us a few!Then, Li Shuangze sang three or four Taiwanese folk songs in Hokkien, including "Fix the Broken Net", "Song of Hengchun", "Rainy Night Flowers", and "Song of the Father of the Nation" in Mandarin.During the period, the audience in the audience applauded and cheered, and some opened soda bottles (note: one of the ways of booing at that time), Li Shuangze shouted angrily to the audience: "Do you want to listen to foreign songs? There are also foreign songs. Okay." Then Li Shuangze sang Dylan's Blowing in the wind, and then stepped down.

Tao Xiaoqing came to the stage and said that the question of whether Chinese people can sing English songs is a serious issue worth considering. You might as well think about it after you go home, but it is not suitable for on-the-spot discussion. I will continue to enjoy the show in a happy mood tonight.After finishing speaking, I don't know who was shouting: "Tao Xiaoqing! Don't hide your foreign slave mentality." This unrehearsed incident at Taipei's Tamkang College of Arts and Sciences is the famous "Coke-Cola Incident", also known as "Tamkang Incident", and thus developed a new context of folk songs - "Tamjiang-Xia Chao" represented by Li Shuangze, centered on Tamkang College of Arts and Sciences and even "Xia Chao".

………………………… When talking about Tamkang--"Summer Tide" folk song route, I have to mention the background of Tamkang College of Arts and Sciences. In 1976, Tamkang College of Arts and Sciences created the magazine "Xia Chao", which has always aimed at supporting local literature and advocating unity.The poet Jiang Xun once commented on the "Summer Tide" group of the university: a small cultural circle in Taipei that has become addicted to it because of excessive care and enthusiasm.We can't judge the merits and demerits of "Xia Chao" because of this, but in the rural movement, especially the folk song movement, "Xia Chao" has indeed contributed a lot.Especially in the 1970s, the Taiwan left-wing cultural movement carried out by the "Summer Tide" group under the cover of the Three People's Principles (especially nationalism and people's livelihood principles) was a very important stroke in Taiwan's history.

Because of this, the "Tamkang Incident" was able to develop into an influential and appealing folk song movement. Zhang Jianbang, who took over as the dean of Tamkang College of Arts and Sciences in 1964, is the son of the founder Zhang Jingsheng, and is known as a "Taiwanese young talent".After entering the 1970s, he put forward slogans such as "university without walls", "community-oriented schools, community-based colleges" to promote "integration of campus and society" (Wang Jinping, "Tamkang Youth"), which was cultivated and supported by Zhang Jianbang Wang Jinping, a lecturer in the English Department of the Beijing University of Science and Technology, is one of the important planners and promoters.

As early as the end of the 1960s, when Wang Jinping was still a student in Tamkang, he had contact with cultural workers of Wen Ji such as Chen Yingzhen and Wei Tiancong, and participated in the establishment and editing of the magazine.After graduation, he stayed at the school as a teaching assistant, and participated in the activities of the Tamkang Aquarius Club at the same time as Li Shuangze. In 1972, after helping Zhang Jianbang to organize the first International Comparative Literature Conference, he went to study in the United States with the support of Zhang Jianbang.At that time, American campuses were in the late stage of the student movement. In such an environment, in addition to devoting themselves to the study of contemporary American literature, Wang Jinping had more extensive contact with various social and cultural movements in transition, including the revival of folk songs.

What changed him the most was, "I quickly accepted such a baptism, and I deeply felt that the anti-communist education I received in Taiwan in the past was completely deceitful..." ("Yuan Wang", 1989) 1975 In 1999, Wang Jinping returned to Taiwan after studying and returned to Tamkang to teach.With the consent of Zhang Jianbang, Wang Jinping, together with Li Yuanzhen, Liang Jingfeng, Zeng Xianzheng and other teachers, took control of the "Tamkang Weekly" and carried out rich cultural activities in the school, including folk songs, small theaters, local literature, etc. .At the same time, Wang Jinping is also a core member of "Summer Tide".Before the revision, the first three issues of "Summer Tide" were just an ordinary "Reader's Digest"-style publication. After the fourth revision, it became a critical publication that advertised "local, social, literary and artistic", continuing The former "Wenji" and "University" magazines implied a left-wing position. Under such conditions, the "Tamkang Incident" in the winter of 1976 first received a considerable degree of attention and discussion in the publications of our school. Challenges and Responses to the Concert", most of the seven articles clearly support Li Shuangze, and criticize the audience and host at the concert that day. Before Li Shuangze's further creation of modern folk songs was displayed, at the end of March 1977, an open-air concert of "Night of Chinese Folk Songs" was held on the Tamkang campus.The categories of songs in this concert include Taiwanese folk songs (such as Shi Weiliang's "Little Drummer", Chen Yangshan's "Yangtze River Water", "Early Sun", etc.), mountain songs, Chinese folk songs, art songs, children's songs, pop songs, etc. Among them, Taiwanese folk songs are the main ones, among which Chen Da's impromptu rapping narrative songs are the most prominent, and they also have the most original characteristics of folk songs.In addition to the old singer Chen Da invited from Pingtung, the singers included Wu Chuchu, Yang Zujun (a student of the English Department of Tamkang College of Arts and Sciences at the time), Tamkang student choirs (Fengyao Choir and Tamkang Choir) and Teacher Tamkang and outsiders Chen Zhixin, Jiang Xun, Chen Yangshan, Zheng Taian (publisher of "Summer Tide"), etc. At that time, Western folk song concerts were also performed outdoors, such as the "Holiday Country Folk Song Concert" held annually by Holiday Company since 1975.But in terms of Chinese modern folk song concerts, this one in Tamkang can be said to be the first time. …………………………… The beautiful island of our cradle/is the warm embrace of our mother/The proud ancestors are looking straight at/Facing our footsteps/They repeatedly exhort/Don’t forget/Don’t forget/They repeatedly exhort/The blue strands of the road/To inspire the mountains and forests/They repeat again and again Repeatedly exhort/difficult road blue thread/inspired mountains/forests/whirling boundless Pacific/embracing the land of freedom/warm sun shines/shines high mountains and countryside/we have brave people here/difficult roads blue thread/inspired mountains and forests/we have endless Life/Buffalo/Rice/Banana/Magnolia Flower--"Beautiful Island" Lyricist: Chen Xiuxi Adaptation: Liang Jingfeng Music: Li Shuangze Li Shuangze expressed his admiration for Yang Xian, the representative of "Modern Chinese Folk Songs", but he didn't like Yang Xian's approach , because the so-called folk songs are meant to be catchy by everyone, and cannot add too complicated and gorgeous melodies, which are too Western-style music" (Lv Qinwen, 1976). The "own song" he wants must first break away from the color of Western songs.According to Wang Jinping's observation, this persistence has become the greatest pain in his creative process, because he "has Bob Dylan's melody in his head...not a complete (Chinese) musical language", so Li Shuangze's composition The wind is obviously more inclined to Western songs, even when Mao Zhulun heard his works for the first time, he "intuitively felt that in terms of melody, there are two or three songs that are more or less influenced by Bob Dylan".In addition to the melody, its simple chords and fingering, as well as its rough, unmodified singing, are somewhat similar to Dylan. Although deeply influenced by Bob Dylan, Li Shuangze actually has his own views on him. He said: "No matter how many protest songs he wrote for the blue-collar class, it is not enough to express the aspirations of the blue-collar class. In essence, he Not part of the blue collar" and "he shouldn't be the only paid entertainer in a benefit concert for Bangladesh", I'm afraid Bob Dylan couldn't argue with that either. Woody Guthrie (Woody Guthrie), the real civilian singer he admires the most, once said: "I hate those sad songs that make people think that they are born losers." Li Shuangze said: "We must really learn from the vulgar. Come out, then our art can last long and be healthy." …………………… 2. Self-harming chanting If you (referring to musicians) do not belong to the masses, nothing you do will make sense. If you are part of them, you can be a "locomotive" to pull them.The problem now is that the locomotive is not attached to the car body. If you run away, their train will still stay behind. --Taiwan native writer Huang Chunming compared with "Modern Chinese Folk Songs", Tamkang -- "Xia Tide" folk song movement belongs to a branch of Taiwan's non-mainstream left-wing culture, which makes both of them try to be popular in Western music and Mandarin In addition to songs and art songs, they find their own "songs", but there are considerable differences in music form, leading direction, communication network and social resources.Later, Jiang Xun proposed to call this kind of songs "campus songs" to replace the controversial term "folk songs".Although this does not mean that it has been limited to the campus since then, it is quite different from modern Chinese folk songs. The "campus song" advocated by Jiang Xun is also different from the "campus" after the record industry intervened. Jiang Xun What needs to be highlighted is the concept of a folk song community. In "Modern Chinese Folk Songs", Yang Xian used Yu Guangzhong's poems as lyrics, presenting a nostalgia for historical and cultural China, but this kind of nostalgia is in the specific historical environment of Taiwan. The "China" in the lyrics is only China is limited to ancient culture and history, not political stance. …………………… There are some contradictions between "Modern Chinese Folk Songs" and "Danjiang-"Xia Chao", especially the criticism of Yang Xian's works and Yu Guangzhong (including his poems and even his promotion of folk songs).Although both are influenced by modern American folk songs, "Modern Chinese Folk Songs" focuses mainly on the American pop charts in the late 1960s, while "Danjiang-"Xia Tide"" focuses more on its early development, even Dating back to the first American folk revival movement in the 1930s.The two revivals of folk songs in the United States in 1930 and 1960 gave a lot of inspiration to the folk song promoters of "Tamkang-"Summer Tide". In addition to the left-wing background, the collection and arrangement of folk music has also become a promoter. Very focused. In a symposium entitled "Where does the song come from", Huang Chunming said: If you (referring to the musicians) do not belong to the masses, what you do is meaningless, if you are part of them, you can be a "locomotive". "Come and pull them.The problem now is that the locomotive is not attached to the car body. If you run away, their train will still stay behind. ("Summer Tide", 1978) In this situation where the academy was out of touch with the folk, the cannonballs criticizing modern folk songs came from the academy, the locomotive ran away, and the train was left behind. In 1978, "Summer Tide" tried to combine academic and non-academic folk song workers, so that "people from both sides can have an opportunity to communicate with each other's ideas frankly, and then work together for the reconstruction of Chinese music". A public folk song symposium was held.Compared with the symposiums in the development of modern Chinese folk songs, which were all "talking happily" or talking about each other, this symposium was full of gunpowder, although most of the "non-academic" speakers repeatedly expressed their dissatisfaction with the academy. The attitude of the musician Gao Shanzhi.Jiang Xun said in a speech: I think we may need someone to come out. On the one hand, remind the art workers in the academy to lower their heads and look at the public under their heels. On the other hand, they also convey a little professional knowledge to the public, so that The art explored by the public alone can progress faster with the assistance of professionals' experience, and it also prevents the art of professionals from being completely closed to the public and becoming dry and boring.I think, with such a mood, I came to this symposium boldly. ("Summer Tide", 1978) Chen Yingzhen's speech is also "very looking forward to them being able to give us very simple songs one by one, which can really express the current practical needs and their own national emotions", but, "If they still feel that these songs are really It doesn’t matter if you dismiss it, or you don’t have the time to write this kind of song, let us all, friends who like music, make it ourselves. It doesn’t matter if it’s worse, all good things come from bad things After all, we have entered an era where we write our own songs and find a song by ourselves..." However, at the end of his speech, Chen Yingzhen still couldn't help appealing: "Respectfully to the experts who have received music training Please, take care of our needs." And did the academics really start to write popular songs as they called for it?The effect is not obvious.Take Li Taixiang, who was regarded as the creation of popular music from the academic school at that time, as an example. The "Tradition and Prospect" concert he produced and planned, which tried to "express folk songs through the form of popular music", was still influenced by "Summer Tide". severe criticism. It is worth noting that here "folk song workers of the academy" basically refers to scholars who are engaged in the collection and arrangement of traditional folk songs. The editor cited Xu Changhui, Yang Zhaozhen, Shen Jintang, and Lu Bingchuan as examples. He held an attitude of tolerance and acceptance, and Yang Zhaozhen did not clearly express his opposition to modern folk songs. You Changfa's speech in the symposium was even regarded as "frank, respectable and lovely". 3. The farthest distance spreads the fragrance of roses to every corner of Taiwan... But please absolutely keep the thorns of roses as our weapons of protest. When we encounter injustice, we will take out the thorns ,protest! --Folk singer Yang Zujun, a student who participated in the concert of Tamkang College of Arts and Sciences in December 1976, couldn't sleep all night on the day of the "Coca-Cola Incident", and the melody of "Fix the Broken Net" lingered in her mind for a long time.Soon, she wrote an article "The Heartfelt Voices of Chinese Singing Foreigners' Songs", in which she said: I hope we will hear our own songs soon, and among those who work silently, I hope I can occasionally find one or two It is the people who are bitterly criticizing "why the Chinese don't sing Chinese songs" today!I sincerely look forward to it!This article became the fuse that inspired Li Shuangze's personal creation. According to the description in the newspapers, Yang Zujun is a girl who likes to wear T-shirts and white jeans, very simple.She studied piano since she was a child, and she received Western music education. Before that, she was not interested in listening to Chinese pop songs or folk music.While studying in Tamkang, influenced by the folk song movement, she began to teach herself to play the guitar, and gradually came into contact with Chinese music and Peking Opera during the creative process. After the "Night of Chinese Folk Songs" concert held in Tamkang in 1977, Yang Zujun met Li Shuangze through the introduction of Wang Jinping.After Li Shuangze's death, continuing Li Shuangze's concept of "singing his own songs" is, for Yang Zujun, "a call from the depths of life and a profound cultural reflection".Yang Zujun has publicly stated many times that he was strongly influenced by Wang Jinping and Li Shuangze.On the day of Li Shuangze's funeral, she made a promise: "Shuangze, no matter where you are, many people will stick to your passion, ideals, justice, love the nation and freedom, and more people will sing your songs..." Wang Jinping, although they became friends after graduation, she still called him "teacher" because "he taught me too much, not only knowledge, but also love and care for people, teaching me to give up on myself and serve the society ". In 1978, Yang Zujun straddled the two routes of "Modern Chinese Folk Songs" and "Danjiang-"Summer Tide"": on the one hand, he was a well-known singer among the many singers of the former, and attended several events directly related to this camp. Symposium; on the other hand, Li Shuangze's main singer after his death. ……………… After that, Yang Zujun devoted herself to the promotion of folk songs. She even taught children on the road to sing Li Shuangze’s songs during outings.She took the initiative to hold concerts in colleges, universities, factories and local villages and towns. The repertoire she arranged included folk songs of Hakka, southern Fujian, aboriginal people (called mountainous areas at the time) and the mainland.The arrangement of the program is different from that of ordinary concerts. She does not focus on herself, and the singing sequence of the songs has been carefully designed to form a series of repertoires corresponding to the transformation of Taiwan's society, and it is adjusted according to the different performance occasions.For example, singing in the factory will start with "Orphan Girl's Wish" in the 1960s to reflect the aspirations of the working class in Taiwan's social changes.Li Shuangze's works usually serve as the finale, ending with the singing of everyone on and off the stage. ……………………… Yang Zujun, who is currently an assistant professor in the Department of Mass Communication of Chinese Culture University in Taiwan, is still an active social activist.Many years ago, she wrote a book "Rose Blooming-Yang Zujun's Journey in the Past Fifteen Years" to commemorate the ideal era full of enthusiasm.But for the title of folk singer, she is always apprehensive, thinking that she does not have too many personal works.In the 2006 album "Yang Zujun Album", which was reissued by Rolling Stone, she was sitting at Longshan Temple in Tamsui when she was young, with a strong and stubborn face, and her beautiful face could not be concealed.The reprint of this record will be thirty years after Li Shuangze's death. ……………………… Hu Defu, Yang Xian, and Li Shuangze started the folk song movement in Taiwan in 1975. It has been nearly 30 years since Li Shuangze passed away, and Yang Xian has immigrated to the United States for more than 20 years. Of the three advocates who launched the folk song movement back then, Hu Defu is the only one left. Still active on stage. In 2006, Hu Defu won the "Best Song of the Year" and "Best Lyricist" awards at the 17th Taiwan Golden Melody Awards for his "Pacific Wind" from his first solo album "Hurry Up".Is Hu Defu's achievement only this song?Far more than that. The works included in "Hurry Up" include "Beautiful Island" composed by Li Shuangze before his death in 1977, the Taiwanese song "Heart" that has lost its author's name and has been circulated among overseas democracy activists, and "Beautiful Island" composed by Puyuma musician Lu Senbao in the 1950s. "Beautiful Ears of Rice" and "Hurry Up" were written by Chen Juntian, and the rest of the works were created by Hu Defu himself. Since the early 1970s, Hu Defu, who retained the spirit of "Summer Tide", began to collect various local cultures and musical notes among the people. In that era of suppressing Taiwanese culture, Hu Defu was a powerful advocate of Taiwan's aboriginal cultural movement. In the mid-1970s, Hu Defu joined the camp of promoting modern folk songs, excavating and publishing many Taiwanese folk songs.Including Yang Xian, Li Shuangze, etc. have absorbed a lot of the essence of Taiwan's local music from Hu Defu. Also in 1977, Yang Xian released the album "West Out of Yangguan", which included a song "Beautiful Ears of Rice" in collaboration with Hu Defu.The age of this song is not too long. It was composed in 1958. Lu Senbao is a treasure of the Puyuma people. He has written countless works in his life. In addition to "Beautiful Ears of Rice", everyone like "Beinan Mountain" and "Ode to the Ancestors" are also popular. can sing.In particular, Catholicism takes the route of localization, and almost all Puyuma hymns are composed and adapted by him. Lu Senbao was most worried about "I don't seem to be able to compose music recently". The last song was only half written, and he passed away unexpectedly due to cerebral hemorrhage the next day.The folk song is still passed on, and "Beautiful Rice Ears" has become Hu Defu's ID card. He often sings this song to "empower himself" in the troubled years. Among the pioneers of the folk song movement, Hu Defu was the first to hold a concert of his own works.Although as early as 1981 after the establishment of the Rolling Stone Records Company, Hu Defu published the lyrics and music "Seagull Fly" (sung by Li Lifen) in the compilation album "Triple Exhibition" after the establishment of Rolling Stone Records, but after the folk song movement, he officially recorded his own work again. , it is already 1997.In that year's "July 1st Born" compilation, Hu Defu officially recorded for the first time his own "The Farthest Road". The last wish of Li Shuangze, a friend who passed away for many years. ………………… After 1990, Hu Defu continued to participate in local, cross-strait and international aboriginal rights promotion activities and movements, returned to the aboriginal tribe, and learned aboriginal songs with his adoptive father Guo Yingnan. Since 2000, Hu Defu began to sing his own mother tongue songs in concerts all over the country, and devoted himself to the collection and learning of traditional songs of Puyuma, Paiwan, Ami and other ethnic groups.Because of his outstanding performance in the folk song movement, he is known as "the father of Taiwanese aboriginal folk songs". Hu Defu remained vigilant about the halo on him: "Everyone mentions me as a pioneer of folk songs and the father of aboriginal songs, which makes me feel heavy. If I count as a pioneer of folk songs, then Chen Da and the others will call What? Let’s talk about aboriginal songs, which have been sung by our ancestors for thousands of years. I sing because I want to sing and express my heart, not for others, but for sports.” Hu Defu’s hair is all white, but he still sings, so There are not many people left.His white hair swayed in the wind, which made me feel some kind of pain and emotion.