Pudong storytelling originated in "Pudong" east of the Huangpu River, including Chuansha, Nanhui, and Fengxian. It is mainly distributed in Chuansha, Nanhui, Fengxian, Jinshan, Songjiang, Qingpu and other suburban areas; in addition to being performed in the old city of Shanghai, it has also spread to Pinghu, Jiaxing and other places in Zhejiang. Pudong storytelling is also known as Shanghai storytelling and peasant storytelling. Because it is played with one hand, it is also called cymbal storytelling, singing single piece and knocking scraper. It is the second largest genre in Shanghai after "funny" and a local folk art with a strong local flavor. Pudong storytelling was originally related to the promotion of the Buddhist doctrine of cause and effect. The singing masters living in Pudong played cymbals with their hands, combined with the pronunciation and intonation of Pudong language, and sang and sang by themselves. They also absorbed the improvised melodies of Pudong folk songs, field songs, salt songs, and fishermen's songs, and combined with the lotus flowers from Buddhist songs, gradually becoming a "cause and effect tune" that got rid of "Buddhist chants". Therefore, Pudong storytelling was originally called "talking about cause and effect" or "cause and effect book" (to this day, Pudong storytelling in Chongming and in Pinghu, Jiaxing and other places in Zhejiang is still called "cause and effect book"). Because the feudal ruling class has always regarded Pudong storytelling as vulgar, there are very few historical records, and literati rarely conduct textual research. There are few written materials on its origin and evolution. However, the "Picture Daily" during the Guangxu period in the early 20th century once contained "talking about cause and effect paintings" and inscribed a doggerel poem: "Talking about cause and effect with cymbals, singing and making gestures, many people listen and laugh, just because the local accent is so clear." It can be seen that Pudong storytelling was very prosperous at that time. In addition, according to the lithographed version of "Shanghai Commercial Scenery" written by Yi'an Master in the 32nd year of Emperor Guangxu's reign in the Qing Dynasty (1906), "There are always storytellers in teahouses, and the mirages are real. They chat with a fan and a cup, and people compete to listen to them with great interest." It can be seen that "storytelling" had already formed a certain scale at that time. According to the 1936 edition of Chuansha Chronicles, there was a Pudong storytelling venue in Gaoqiao Town during the Qianlong period of the Qing Dynasty. According to the "Shanghai Volume of the Collection of Chinese Operas and Music", the old artists used their teachers to infer that Pudong storytelling began during the Jiaqing period of the Qing Dynasty (1796-1820), and the founder was Gu Xiuchun. Due to historical reasons and missing materials, the relationship between Pudong storytelling and the inheritance of masters and apprentices from generation to generation cannot be sorted out now. But judging from the genealogy of successors recalled by old artists: the second generation was Chu Lanfang, a senior student, who spread "singing karma" to Pudong and Puxi, and took a disciple Tang Zhenliang (third generation) in Songjiang, and then spread it to Songjiang, Qingpu, Jinshan and Pinghu and Jiaxing in Zhejiang Province. Chu Lanfang passed it on to Fu Yanquan (third generation), then to Wu Chaorong (-), and then to Zhang Jingshan (fifth generation). The sixth generation was Ji Fengshan and others, and the seventh generation was passed on to Shi Fengfei and other "four great flyers". Before liberation, there were more than 150 people. In 1932, there were two guild organizations in Shanghai: one was called "Datuan Kaizhi Society", located in Datuan Town, Nanhui County; the other was called "Shanghai Yongyu Society", located in Yangjing Shunfeng Tea Garden, Chuansha County, and its full name was Shanghai Yongyu Storytelling Research Society. At that time, artists occupied most of the tea gardens in Pudong, and there were also performances in the old city of Puxi South. After the outbreak of the Anti-Japanese War, all organizations were disbanded and never recovered. In 1949, Shanghai was liberated and the "Shanghai Hushu Improvement Association" was established. When Shanghai Pudong County was established, the Shanghai Pudong County Hushu Performance Team was established. When Pudong County was abolished in 1961, it was assigned to Nanshi District and renamed Shanghai Pujiang Hushu Team. After the "Cultural Revolution", other regions also resumed the performance of Hushu by quyi groups. The restored Shanghai Pujiang Hushu Team was renamed Shanghai Chunjiang Hushu Team. In 1987, all the Shanghai Chunjiang Hushu Group changed jobs, and the professional performance group no longer existed. Most of the artists have passed away so far. The Shanghai Pudong County Hushu Performance Team accepted 6 students in 1959, but in 1961, because the 6 students were agricultural households, they were all disbanded. In 1962, the Pujiang Hushu Team trained 6 more students, but after "0", the Hushu Team was disbanded and they all changed jobs. Pudong storytelling is a regional folk art, which is often inherited by both teachers and apprentices, families, and society. In the early days, storytellers could be seen in most towns and villages in the vast rural areas of Pudong. Shi Chunnian, known as the "Last Emperor of Pudong Storytelling", learned from his father Shi Fengfei since he was a child, and later took Ji Fengshan as his teacher. The father and son were taught by the same teacher. Shi Chunnian wanted to preserve the bibliography, experience and historical materials he had accumulated throughout his life, but with his death, his art was lost. Before liberation, most actors were farmers, handicraftsmen and urban poor. Most artists were half farmers and half artists. They worked in the fields during the busy farming season and performed storytelling in teahouses in rural towns during the slack season to make a living. They performed frequently during temple fairs and festivals. The two performances day and night were bustling with people, and the sound lingered in the air. The artists performed in Pudong dialect, usually sitting alone. The actors held cymbals and wore long gowns. At the beginning of the performance, they used bamboo chopsticks to knock on the cymbals and sang four poems or lyrics, then sang the opening, and then told the original long story. When it came to the long story, they also sang a paragraph at the beginning. The long story was mainly about telling, and sometimes there was singing. There are many ways to play cymbals to create an atmosphere and give people a sense of beauty. The lightness, heaviness, slowness and speed of the cymbals are all used to express the pauses and transitions of the characters' thoughts, feelings and actions. The melody is brisk and loud, with long tunes, slow tunes, fast tunes and crying tunes. After 1949, the forms became more diverse, with double-file, multiple-file, group singing and performance singing. During the performance, the actor holds the cymbals in his left hand and a chopstick or bamboo stick in his right hand, which is called "drum stick" or "heart-beating". Use bamboo sticks to hit the small cymbals to play various rhythms. Before the performance, artists often play cymbals to show cymbal-playing skills to attract the audience and quiet the audience, which is called "cymbal noise". "Noisy scene" is a combination of the sound produced by hitting different parts of the cymbals, the different timbres produced by the left thumb and index finger pressing the cymbals, and the rhythm changes produced by the speed of hitting the cymbals. It can produce more than ten different techniques to set off the atmosphere and adjust the breath. Such as Da Shiban, Erjitou, Sanjitou, Wujitou, Xiaolangtou, Jijilang, Huilong, etc. The singing style is composed of two sentences, and the tone is like chanting. The real voice is generally used for performance singing, and the false voice is used when playing Huadan. The last word of the ending tone has an obvious singing style feature, that is, the Dongxiang tune and the Xixiang tune, which just form a modulation relationship of the upper fourth. When telling the story, props such as wake-up sticks, fans, and handkerchiefs are often used to assist the performance. Pinghua is only spoken and not sung, and the storytelling is mainly in Pudong and Shanghai dialects. Actors can speak various dialects when playing roles, and there are programmed movements in martial arts scenes, and actors jump in and out of their roles. Most of the books are about history, chivalry, public cases and ghosts. Before liberation, each performance lasted more than three hours. Pudong storytelling is the main force of Pudong's local culture. At present, there are few professional Pudong storytellers, but in the birthplace of Pudong storytelling, the art form is popular among the masses and often appears in amateur folk art performances in the form of group singing and performance singing. Caolu Town, which created and performed "Grandma Raising Pigs" and "Selling Chickens" twice in the National Folk Art Performance in 1975 and 1976, recently saw the original form of Pudong storytelling sung by a single person playing cymbals. Beicai Town also recently held a Pudong storytelling seminar and performed a traditional program Huishu, exploring the inheritance of this endangered genre.