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when Liu's revolutionary songs and performance were terminated. To some extent, Liu's songs and performance shifted to civil-wide cultural movements in mainland China during this period of time. Liu's song and performance style had to present an implicit expression style and provided revolutionary implications for audiences. Later on, affected by China's opening and reform policy implemented in 1978, the culture of Liu Sanjie entered a prosperous development period as well. Gradually, Liu's performance style was known by national audiences. Liu's songs and performance style have become symbols of traditional
Chinese cultural heritage. It has also attracted many audiences' attention and meets their appreciation needs in South East countries, both the revolutionary and patriotism spirits are considered as representatives of Chinese culture.
266:. When she was young, she lost her parents and educated by his elder brother. After she grew up, she was oppressed by the landlord. When Liu Sanjie was three years old, she was found as having a melodious voice, and after she was a teenage girl, she was considered the top folk song singer, especially among the Zhuang People in South China. Liu Sanjie used to sing songs on a fishing boat on a green river of her hometown. During her youth period of time, she managed to escape from Mo Huairen, who wanted Liu to be his concubine. As they sang, Liu and her lover traveled and eventually found their freedom. Turning into a pair of larks. When Liu traveled, she experienced many difficulties and challenges. Influenced by these challenges, Liu could eventually include inspiring emotion and feeling in her song. As a result,
246:(1127-1279). Many legends and folk songs about her were created starting in the Ming (1368-1644) and Qing (1644-1911) dynasties. Liu Sanjie is said in one version to be a commoner girl born in 703 in Zhuang. She was said to be a wunderkind, able to compose impromptu songs at will. Her songs were touching and sonorous, so she was called the Song Fairy. She subsequently taught singing in the surrounding areas. Many people have come to compete with her in singing. Her talent, however, attracted jealousy from the local hoodlums, which resulted in her early death. The evil farmer Mo Huairen was said to make Liu Sanjie his slave girl and bribed officials to oppress her when she refused to do so. Despite various versions of Liu Sanjie's tales, for hundreds of years, Zhuang people have maintained their adoration for her.
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folk song style become a kind of cultural heritage in southern part of China. Liu has developed her own traditional folk song style, which is treated as constituting several elements, including gamut scales, notations and other terminologies of musicological system. Liu's songs could be sung by people when having an ordinary conversation or quarreling with a family member. What Liu followed was also treated as a narrative long song style and life song style. This was mainly because when singing songs, Liu followed some established rules and etiquette. Through songs created by Liu, others can explicitly find out the development of folk song style of hers. It has significant implications for higher education reform of music education.
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difference in local aesthetic knowledge also causes difficulties in spreading the ballads of Liu Sanjie. By integrating Zhuang and Han cultures, the cross-ethnic transmission of Liu Sanjie's ballads has been realized. The ballads of Liu Sanjie emphasize rhythm, singing method and unity of voice and emotion, and show the unique regional style of music and national aesthetic connotation. These three aspects are its main features, as well as the important reasons for Liu Sanjie's moving and classical spread.
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bring women of all ethnic groups into society, the spirit inspires the healthy growth of women of all ethnic groups in later generations. In recent years, many scenic spots have emerged with Liu Sanjie as the core, her hometown, Guangxi and ethnic minorities regard Liu Sanjie as a competitive symbol.
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Liu Sanjie's ballad is the source and important carrier of folk pedagogy of the Zhuang nationality. It carries rich cultural resources and contains a rich national spirit and humanistic spirit. Liu Sanjie is the representative of the image of minority women in
Guangxi. Liu Sanjie's Chinese folk songs
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with more than 600 participants and is a local tourist attraction. That is the world's biggest natural auditorium that uses Li River waters as its stage, with its backdrop to be twelve mist-enveloped hills. Impression Liu Sanjie is divided into seven scenes. The light show lasts 70-minute on a nature
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Liu Sanjie's song's style was also affected by the
Cultural Revolution conducted by Chinese politicians during 1966 and 1976. During this period, the political thoughts were dominated by the oppression of those literate in Chinese society. It was during the Chinese Cultural Revolution period of time
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Liu Sanjie is treated as an example of a real-life scenery performance artist in that she catered to audiences' emotional needs and helped those
Chinese peasants to speak out their voice. Liu's performance song style has attracted many foreign and domestic tourists to the hometown of Liu, making her
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Liu Sanjie is known for her talent for singing to celebrate her liberty and honesty, as well as criticizing those abuses and injustice in her songs. The various cultural contexts result in the loss of esthetic significance in Liu Sanjie's ballads ' cross-ethnic and cross-lingual transmission. The
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According to legend, Landlord Mo
Huairen (莫怀仁) tried many ways to defeat Liu: He tried to force Liu to be his concubine (and failed), then prohibited the poor from singing and invited three scholars to beat Liu at a singing competition (and failed). Enraged, Mo decided to just kill her. Villagers
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city, but Liu still would not give up singing, and her songs inspired people to sing with her in defiance of Mo. To keep the villagers from being killed on her behalf, Liu jumped into Lake
Xiaolongtan, but the moment she hit the water, a huge golden carp jumped out and carried Liu to the heavens
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As a result, Liu is considered as having developed an inspiring and revolutionized folk song style. Liu became a popular
Chinese folk song singer during the 1960s when socialist China was about to be developed. Therefore, Liu was influenced by macro-social development and tried to manifest her
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patriotism in her song lyrics. Regardless, the absence of clear and systematic classification of intellectual in socialist China made Liu's music talent ignored by the public. In addition to manifesting patriotism, Liu also included some culture-related phenomenon or issues in her songs.
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Liu Sanjie was able to generate substantial impacts on society because of the patriotism and expressive emotions in Liu's songs. Liu's singing style was also affected by the inflow and popularity of
Western music in Chinese society. After the defeats of the 1894-1895
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Mo, J., Fu, Y. X 2017, 'A comparison study on satisfaction of
Chinese and foreign visitors about performance arts of intangible cultural-heritage-taking impression of Liu Sanjie as example',
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Tian, M., Fazekas, G., Black, D.A., Sandler, M.B 2014, 'Towards the representation of
Chinese traditional music: a state of the art review of music metadata standards',
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and her songs were melodious and touching, therefore she was dubbed as the "Goddess of Singing". The earliest story about her can be found in the Southern
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Town people still manage some of Liu's relics today, the spot where Liu used to do her laundry and a site where Liu used to hold dramatic song contest.
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J, Lan., C, Chao. 2011, "The Orientation of Folk Song in Zhuang Nationality: Liu Sanjie and The Space of Music Performance",
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Li, Y 2015, "A revolution is not a dinner party: revolutionary songs in People's Daily. during Cultural Revolution China",
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W, Xiao. 2010. "A Study on the Brand Strategy of Folk Culture Tourism: A Case Study of "Liu Sanjie" Cultural Tourism",
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singer, who is the Liu family's third daughter, with an original name of Liu Shanhua. Liu is a legendary figure of
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Eddy, U. 2010, 'Third Sister Liu and the making of the intellectual in socialist China',
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Chen, A 2005, "Westernization and music in China during and after the Qing dynasty",
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W, Guang. 2002, "The influence of Liu Sanjie's culture on minority women's life",
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L, Hua. 2009，’The review of Liu Sanjie on musical and artistic characteristics',
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L, Lin. 2011, "The Historical Origin of Three Songs of 'Liu Sanjie'",
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Shi, L. 2008, ‘The origin and impact of Liu Sanjie's folk song',
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S, Lin. 2008, "Liu Sanjie's Ballads and Zhuang Folk Education",
291:. Villagers then passed down her songs through the generations.
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R, Xu. 2011, 'Cross-cultural Singing of Liu Sanjie's Ballads',
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N, Jun. 2010. "Artistic Exploration of the Film 'Liu Sanjie'",
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Impression Liu Sanjie was staged on March 20, 2004 by director
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Z, Yi. 2000. "Liu Sanjie will be familiar and unfamiliar".
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A thesis submitted to the Faculty of Wesleyan University.
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X, Mei. 1991. "The New Singer of Liu Sanjie's Hometown",
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Entrance door at Liu Sanjie Park reconstructed building
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Proceedings on Dublin Core and Metadata Applications
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254:Liu Sanjie was born in a farmer's family in
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747:Journal of Conservatory of Music of Music
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562:Tan, Y. 2018 'The Legend of Liu Sanjie',
277:Reconstructed building at Liu Sanjie Park
617:Liu Sanjie - A Fearless Folk Song Singer
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602:LIU SAN JIE (LIU THE THIRD SISTER),
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720:Scientific Decision-Making
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515:"The Legend of Liu Sanjie"
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873:Singers from Guangxi
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564:The World of Chinese
519:The World of Chinese
287:where she became an
590:Musicology in China
575:Who is Liu Sanjie,
533:"Who is Liu Sanjie"
883:People from Guilin
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521:. 31 January 2018.
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539:. 31 August 2009.
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501:References
232:folk music
220:Liu Sanjie
193:Wade–Giles
185:Liú Sānjiě
108:Occupation
100:Liu Sanhua
97:Liu Sanmei
60:Liu Sanjie
784:, vol.02.
771:. vol.01.
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592:. vol.03.
836:. vol.08
823:. vol.08
683:. vol.12
553:. vol.36
338:Li River
333:Yangshuo
289:immortal
39:In this
604:SRIFF19
551:outlook
284:Liuzhou
240:Guangxi
224:Chinese
86:Chinese
76:Guangxi
797:vol.01
460:Impact
268:Yizhou
260:Guilin
226::
43:, the
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312:Film
66:Born
331:in
238:in
228:刘三姐
136:劉三姐
50:Liu
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