Anshun singing is an ancient folk rap art. It is mainly distributed in the Tunbu villages such as Jiuzhou, Zhanjiatun, Jiuxi, Jichangtun, Leitun, Guojiatun, Zhangjiatun, Weiqitun, Dingqitun, Leping, and Wulitun in Anshun, Guizhou, especially in the Tunbu villages in the towns and villages of Xixiu District. Xixiu District is located in the west of central Guizhou Province, 90 kilometers away from the provincial capital Guiyang. It is located in the west of central Guizhou Province, with a total area of about 1,710 square kilometers. It is located in the stepped slope area in the east of the Yunnan-Guizhou Plateau. The terrain slopes from northwest to southeast, mainly plateau hills and mountains, and has a subtropical monsoon humid climate. As early as the Ming Dynasty, when it was transferred to the north to conquer the south, in the 14th year of Hongwu (1381 AD), the city of Anshun was built in Adab, making the area around Anshun the base camp of the Ming Dynasty army. In order to consolidate the border, Zhu Yuanzhang adopted a strategy of alternating between conquest and appeasement, and actively promoted the military farming system, issuing an edict that the garrison troops and their families should settle down in the local area. After the second expedition to the south in the 21st year of Hongwu, a large number of immigrants from various provinces in the south of the Yangtze River came to Guizhou to "fill the south", so that the garrison troops and immigrants formed a dense and self-contained tunbu village. At the same time, the garrison troops and immigrants not only brought advanced agricultural and sericulture techniques, but also gradually infiltrated Han culture into the long-closed settlements. When the "reform of natives and officials" was implemented in the early Qing Dynasty, a large number of Han people poured into Anshun again, and also injected the widely circulated storytelling literature at that time into the tunbu villages. It was inspired by Han culture and storytelling literature that the private school teachers at that time collected some folk stories and compiled storytelling books for students to sing. Because the lyrics are arranged in seven-character sentences and ten-character sentences, and the content between paragraphs is spoken in five-character sentences in pure dialect, this rhythmic rhythm, summary, summary, and commentary are a major feature of the structure of folk storytelling and opera. The singing music uses original folk customs. The framework is built by the small tunes of the time, and the story is told and sung in the form of "one person with multiple roles". The singing is simple, catchy, and easy to understand. The same type of folk mountain songs are sung but not spoken, while the "Guizhou dialect" is spoken but not sung. The folk singing books are both sung and spoken, showing a richer means of expression, so they are easily accepted and loved by the audience. After the integration of the Jiangnan water town culture and the Anshun mountain culture, during the Guangxu period of the Qing Dynasty, the singing books tended to be perfected and finalized, and eventually became a spiritual and cultural life for the villagers of Tunbu to entertain themselves after work and educate the ignorant. The content reflected in Anshun singing books is relatively rich. Most of the singing books are based on the widely circulated folk stories and historical stories as the writing materials. Some singing books are compiled based on the chapters of classical novels and adapted and transplanted from some opera scripts. The singing books reflect long stories and are written in the method of "chapter" singing. The singing books tell stories in "chapter", "section" or "segment", and all use spoken language to point out the turning points of time and space or plot. The singing is mainly based on singing, supplemented by speaking. The rapper holds the singing book and sings without any musical instrument accompaniment. The singing music is based on the original folk tune. When the melody and dialect are reversed, the melody can be changed immediately to express the meaning. The singing music structure is four sentences and repeated, commonly known as "four sentences reverse singing". The stories based on folk legends include: "The Story of Python", "Zhang Sijie's Trouble in Tokyo", "Double Graves", "Five Beauties", "Eight Immortals", "Meng Jiangnu Crying at the Great Wall", "The Story of Parrot", "The Founding of a Sect", "The Later Eight Immortals", "The Story of Three Yuans", "Wang Yulian's Expedition to the West", etc. The historical stories include: "The Story of the Golden Bell", "The Story of the Colored Tower", "Going to Henan Four Times", "The Legend of the White Crane", "The Beheading of Shan in Luoyang", "Qin Qiong's Crying for the Corpse", "Wang's Crying for Her Husband", "Shan Jinlian's Crying for Her Father", etc. The stories based on classical novels include: "Guan Yunchang Goes to a Meeting with a Single Sword", "Lv Bu Plays with Diao Chan", "Liu Bei Crosses the River to Recruit a Wife", "Liu Bei Cries for Peach", "Huarong Road", "Guan Yu", "Jiang Ziya", "Nezha", "Wu Song", "Empress Lü Beheads Han Xin in Weiyang Palace", etc. The stories adapted from opera scripts include: "Water Beats Lanqiao", "Great Filial Piety" (also known as "The Fairy and the Fairy"), "The West Chamber", "The Willow Shade", "Water Splashing in Front of the Horse", "The Precious Lotus Lantern", "The Legend of the White Snake", "Qin Xianglian", "The Red Lantern" (also known as "Bao Gong Beheads the Five Xuan Kings"), etc. The content of Anshun Singing Books focuses on promoting "loyalty, filial piety, courtesy, righteousness, and benevolence", advocating kindness to others and the unity of virtue and happiness, so that the audience understands the principles and rules that should be followed in dealing with interpersonal relationships, and plays the role of "ethical" education in cultivating the moral concept of suppressing evil with good. It plays an important role in solidifying the strong "historical consciousness" of Tunbu villagers, cultivating moral and cultural qualities, and uniting villagers to participate in village affairs in an atmosphere where rules cannot be followed. Anshun Changshu can retain its inherent form and be passed down to this day through oral transmission. The geographical conditions of Tunbu are an indispensable reason. Tunbu has been surrounded by surrounding territories for a long time, and the backward transportation environment has relatively limited its dissemination and communication with the outside world. Changshu is an amateur entertainment activity spread among the vast Tunbu villages in Anshun. It is not restricted by time and place, and there is no traditional master-disciple relationship. Generally, it is passed down from father to son, and from son to grandson. As long as you like it, you can learn it. Representative inheritors include Zhu Xingtian, Gu Zhiyan, Wang Houfu, Zhu Zhengquan, Liu Jichang, etc. Anshun Changshu has been strongly impacted by foreign cultures. Most of the older generation of storytellers have passed away, and only a few villagers over 65 years old can continue to tell stories. Obviously, Anshun Changshu is in a weak position with no successors. For a long time, professionals in the art world and cultural administrative departments have lacked in-depth research and necessary support for Anshun Changshu, but it is still in a disordered natural process and is in great danger of being lost. Information source: Provincial Intangible Cultural Heritage Center (No pictures yet, welcome to provide.) Information source: Provincial Intangible Cultural Heritage Center (No pictures yet, welcome to provide.)