Wu Songs

Wu folk songs and ballads, collectively known as "Wu songs," are a vital aspect of Wu culture. Originating in southeastern Jiangsu Province, these songs are a form of folk literature and art with strong national and regional characteristics, boasting a history of over 3,200 years. Wu songs encompass both "songs" and "ballads," covering a wide range of themes, including love, labor, and current affairs. Musically, Wu songs are categorized into six types, such as Mingxiao and Wusheng.

Tianshan Song, a distinct folk song in the Jiangnan region, is a subset of Wu songs. It is predominantly found in the suburban counties of Liantang, Zhaoxiang, Jinze, and Shangta in Qingpu, Shanghai, as well as in Wujiang and Wuxian in Jiangsu, and Jiashan and Jiaxing in Zhejiang.

Shanghai Tianshan Song is traditionally sung by farmers while they weed and hoe rice. The performance typically begins with a soloist, followed by others who join in turn. Also known as "Yao Selling Song," "Falling Rice Song," and "Big Head Mountain Song," this folk song is characterized by its high, loud tone, free-flowing melody, and the use of dragging tunes and polyphonic forms. The lyrics draw from the daily lives of local people, often reflecting their labor, lives, thoughts, and love. These songs serve as a valuable window into the social life, customs, and folk traditions of Shanghai and its surrounding rice-growing areas.

The Dongmeili area in Wuxi and its surroundings are also key regions for the transmission of Wu songs. Since the Ming and Qing Dynasties and the Republic of China, Wu song singing has flourished in the Dongting, Chaqiao, and Anzhen areas of Wuxi County, where folk song activities have been common. Following the reform and opening up, Wu song enthusiasts and cultural workers in Xishan District have collected, organized, and published a large number of short and medium-length Wu songs, along with over ten long narrative Wu songs. Notable works include "Xiao Qingqing," "Xue Liulang," "Chen Wa Pian," "Jin Buhuan," and especially the long narrative song "Shen Qi Ge," which garnered significant attention both domestically and internationally upon its release.

Wu songs vividly document the life and struggles of the lower-class people in Jiangnan, making them an invaluable piece of folk cultural heritage. However, with the rapid advancement of productivity and changes in social structures, the number of singers, who are the carriers of this tradition, has drastically declined. Protecting and preserving Wu songs has now become a critical priority.