Those chosen as "Village Officials" and "Pà Mơ" must be moral, prestigious, polite, and must know how to sing, sing well, and have the ability to improvise quickly.
The content of the village folk songs is also very diverse, corresponding to each specific melody: singing about customs, singing about history, singing love songs. Love songs are usually the songs that end a singing session between the groomsmen and bridesmaids.
Folk songs - folk songs, rituals and customs of the Tay Nung people have clearly reflected the society and life of the Tay Nung people. Through songs of worship, funerals, weddings... the whole Tay Nung society hundreds of years ago has come back to life. Especially the customs, rituals, and practices of funerals, weddings, prayers, blessings... All of these customs have become valuable materials for cultural and ethnological researchers who want to study the culture and customs of the Tay Nung people.
1.1.2. Folk songs - folk songs of labor and daily life
Maybe you are interested!
-
Measure 4: Make Tools and Toys to Use in Children's Play Activities -
Internal control of revenue and expenditure activities at the National Children's Hospital - 2 -
Current Status of Testing and Evaluating Children's Rights and Duties Education Through Experiential Activities at Secondary Schools in Hung Yen City, -
Incorporating Human Rights, Children's Rights, and School Violence Prevention into the Secondary School Curriculum -
Old stories of Hanoi in To Hoai's literature - 2
*Concept:
"Folk songs are songs that serve functions in daily life such as lulling children to sleep, playing games, or expressing feelings for one's homeland or love between couples." [1,20]
"Working folk songs are songs that express the singer's feelings in the working environment (when hunting, when planting...) and agricultural calendar songs". [1,20]
1.1.2.1. Love songs: Luon, Phong Slú
"Luon" is a special genre used for courtship between young men and women. According to the Tay researcher, Vi Hong, "Luon" originated from the word "Ru" (19,30-31). "Luon" is a style of courtship singing that may be similar to the Kinh people's Bac Ninh quan ho singing style, and in terms of genre, "Luon" itself is divided into many "Branch" including: Luon sluong, luon coi, luon then, luon nang oi...
"Lượn" is generally not performed as a normal song for artistic enjoyment. From its origin and nature, "Lượn" is a way of communicating between "Friends" and sometimes wandering aimlessly to express and release deep private feelings.
Usually, a dance is performed publicly and the time of the dance is at night, some dances last for many nights. The singing exchanges between "couples" or "couples of friends" have very diverse content with forms such as: singing to ask questions, singing to greet, singing to visit, singing to express love, singing to celebrate the homeland, celebrating the homeland, the homeland has clever people and skillful people, strange things with colorful scenery, singing about loving relationships in everyday situations... It can be said that this singing style is a whole world of souls with many tones and levels that captivate many generations.
Phong slu is also a form of love affair but it is through letters. This form of love affair has existed since ancient times, when the majority of the Tay Nung population was illiterate. Normally, the man had to ask a teacher (Slay ca) who was good at writing, poetry, drawing, decoration... to compose a phong slu and send it to the girl he loved. When the girl received the phong slu, she also asked the teacher to read it and write a reply.
A Feng Shui painting has a very precious spiritual value. A good Feng Shui painting, rich in emotion, not only brings joy to the recipient but also becomes the common property of the whole village, the whole Muong, and many people know it by heart.
The feng slu paintings of Tay and Nung men and women are not simply words but are also elaborately decorated with many impressive patterns and shapes. The frame of the feng slu painting is decorated with many motifs, including deer, flowers, butterflies, grass and birds. In particular, in the four corners there are four pairs of swallows with letters in their beaks. These are symbolic images of swallows carrying love letters, connecting the love between young men and women.
The opening form of the feng slu paintings is often made according to a pattern that has become a folk saying.
The content of the writer often tells about specific circumstances, feelings, and moods. It is said that it is common for boys and girls to express their love by letter, but expressing love in the Tay style of writing in traditional cultural practices is a unique behavior, showing a level of "intelligence and dignity".
1.1.2.2. Children's songs for fun: Nursery rhymes and lullabies
Playful songs for children of any ethnic group in our country are always good, funny, joyful, healthy... especially nursery rhymes.
Nursery rhymes are folk songs with content and form suitable for children, sung by children while playing. Nursery rhymes can be composed by adults but sometimes by children themselves.
Children's nursery rhymes are directly, innocently, and mischievously thought up by children, originating from their daily games. Thanks to the connections between imagination and reality, they are sometimes strangely funny or suddenly appear with a deep and unexpected feeling that makes adults surprised, such as the nursery rhymes to lure animals of Tay Nung children such as the following "bai i nhu kien n, cau buom":
“Oh ants, oh bees! Oh nest of ants and bees, please invite the mandarin here, come eat the liver of a wasp, come eat the honey of a wasp, come eat the testicles of a hen, the hen planting rice at home, the pheasant sowing rice, the horse blowing the horn, the young grasshopper blowing the trumpet, the two brothers playing the drum, the stupid-eyed dog sitting and watching, grabbing the head of a grilled fish, grabbing the tongue of a mother cat…” [29, 218]
The content of children's nursery rhymes in the mountains and highlands often reflects the natural world in a very specific way, very close to the children's living environment, starting from the roof of the stilt house to the bridge to the village, on the fields, by the river and by the fire... It is a living world.
The dynamic with its many colors, many forms, many species, all things are clearly and sharply shown as they are. From the natural landscapes of the thousand-year-old living environment close to the Tay Nung children's community, calling ants, calling bees, calling butterflies, calling birds, calling the sun, calling the rain... to tell all kinds of stories, and every story is imbued with the identity of the homeland, the village, and the people.
If nursery rhymes have their performance environment in children's games, then lullabies are sung through the mother's soft, gentle words, through the grandmother's sweet, affectionate words with all the love. Lullabies are also a way to build a bridge of intelligence and soul for the next generation.
Nursery rhymes are an endless source of joy for children, and lullabies are a source of spiritual milk as abundant as underground water, nurturing people from the cradle in love between people, with nature, with labor, with dreams and aspirations for happiness.
The types of folk song activities we have just introduced above have their own genres of the Tay or Nung ethnic groups. However, based on the similarities in living conditions, economic level as well as customs and practices that are not far apart, we will introduce in the most general way the basic types of folk song activities of the Tay and Nung ethnic groups.
The initial study of the types of folk songs and folk activities of the Tay Nung people has shown us the lasting vitality and strong spread of this genre in the spiritual life of the Tay Nung people. Folk songs and folk songs of ethnic minorities in general and of the Tay Nung people in particular often appear in specific performance environments closely associated with the life, customs, beliefs and culture of ethnic groups. Therefore, folk songs and folk songs are the place to most vividly express the unique characteristics of culture.
Tay Nung ethnic culture is a distinct color in the colorful picture of Vietnamese culture.
1.2. The phenomenon of traditional typical images appearing in Tay-Nung folk songs
When studying images in folk literature in general and images in folk songs in particular, many researchers have affirmed that the depth of the images does not only contain one layer of meaning. Thoroughly understanding the origin of the images is not a simple or easy task. The system of images in Tay Nung folk songs was born, nurtured, and grew up not only on the land of folk literature but also of other forms of culture and art. In addition, each image also contains many mysteries about the birth, existence, and development of history, society, customs, habits, beliefs, etc. of the two Tay Nung ethnic groups. For that reason, studying and explaining the meaning of the system of images in Tay Nung folk songs is a necessary task.
In our initial research, we pointed out the phenomenon of the appearance of typical traditional images in Tay-Nung folk songs and compared this appearance to be common in folk songs of other ethnic groups such as Thai, Muong, Vietnamese...
1.2.1. The system of traditional typical images and symbols appearing in Vietnamese folk songs
Folk songs are the richest part of our nation's folk literature. This is also the most valuable part in terms of inspiration and artistic expression, so through many historical changes, it has been refined and passed down by the people.
Vietnamese folk songs in general and those of ethnic minorities in particular both reflect history and describe in detail customs and practices in daily life.
material and spiritual activities of the working people, but first of all, it expresses the national soul in private life, family life and social life. To express all the levels and emotional nuances of spiritual life, our people have used available images in nature and the universe such as: clouds, mountains, moon, stars, sun, rain, wind, passes, streams, streams... to objects used in daily life such as: towels, shirts, mirrors, combs, hats, shoes... to express people's thoughts and feelings.
Up to now, there have been many research works on the system of images and symbols in Vietnamese folk songs. Notably, the article " The artistic symbolic value of artificial characters in traditional Vietnamese folk songs " by author Truong Thi Nhan surveyed 1,350 folk songs in the book "Vietnamese Proverbs, Folk Songs and Folk Songs" collected and compiled by Vu Ngoc Phan, 8th edition, H, 1978. Author Truong Thi Nhan identified 210 artificial objects, appearing 790 times, accounting for 60% of the number of appearances/sentence. It can be seen that this is an extremely rich and diverse world of artificial objects in Vietnamese folk songs. Based on the above statistics, Truong Thi Nhan classified images of artificial objects into four specific groups:
Group 1: Personal items: shirts, pants, towels, hats, mirrors, combs, shoes...
Group 2: Household items: Blankets, mats, beds, curtains, trays, cups, bowls, plates...
Group 3: Production tools: Nets, traps, buckets, boats...
Group 4: Construction works: Houses, communal houses, bridges...
In this article, author Truong Thi Nhan has given some specific analysis for typical objects, both in terms of frequency of appearance and ability to symbolize art. In each group, the author goes into depth to analyze the appearance.
The presence of one or two representative images and their high frequency and aesthetic value and expressive power.
Group 1: The author pointed out 36 types of objects with a total of 182 appearances. The most prominent in this group is the appearance of the shirt with 77 appearances in forms such as: brocade shirt, incense shirt, intact shirt, torn shirt... and parts of the shirt such as: shirt buttons, shirt flaps, shirt flaps... Author Truong Thi Nhan went deep into analyzing the symbolic value of the image of the shirt, which is the aesthetic value and expressive ability. The shirt is not simply an object to cover the body, but in folk songs it also contains other meanings.
In describing love, the fox means attachment, connection, contact because the fox is always attached to human skin, it brings warmth, it contains secret desires for closeness, physical contact in love:
- His fragrant shirt is hung on the hook. At night I lie down, I lie down, I cover myself to catch my breath.
- Love each other, take off each other's clothes
Go home and lie to your mother that the bridge is blown away by the wind.
The fox also has a different meaning, which is to show the whole life, personality and fate of people, the contrasts of good clothes - torn clothes, torn clothes - fragrant clothes... are contrasts of circumstances, of fate:
- My husband is so cute.
The husband of a woman in brocade and incense burning is the same as everyone else.
- The world is still not wise.
Live in ragged clothes, die in clean clothes.
Not only stopping at stating the symbolic meaning of the fox image, the parts of the fox also contribute to describing people in terms of shape and appearance:
Looking for you, I was sweating profusely. My shirt button broke again and my headscarf fell off.
The shirt button and the headscarf play a very delicate role in describing the dishevelment and slovenliness of a guy wandering because of… love.
Group 2: In this group, the author also has very detailed statistics with 57 objects appearing 303 times. Household utensils used in folk songs tend to express elements and situations of life that are closely related to love and family happiness. To describe the life of a couple, folk songs often use blankets, mats, curtains, pillows, beds, chopsticks, trays, bowls... The main reason can be explained by the closeness, usefulness and intimacy of these objects in family life and married life.
In 57 household utensils, the author has focused on analyzing the image of chopsticks with a very special meaning. More than any other utensils, chopsticks have the ability to express the types of relationships between couples. Chopsticks are closely associated with the living habits of Vietnamese people because in Vietnamese meals, chopsticks are indispensable items, but the main thing is in its structural characteristics: chopsticks must always come in pairs. In folk songs, chopsticks appear in three main variations:
A short husband marries a tall wife.
Like a pair of chopsticks, how can they be equal? A pair of chopsticks is equal, showing a proportional relationship:
We are like chopsticks in a warehouse
No matter how convenient or inconvenient, there is no comparison. A pair of jade chopsticks is perfectly matched.
We are leisurely friends