Reporter/Wang Xiaofang Qin Jianxing
Editors/Lee Hsien Fung Song Jianhua
△ Hoodev
Hudev raised his hands, stroked two fingers, and gently brushed his long white eyebrows: "You see, it seems that I often stay among young people, and I actually have black, new life." The day is November 10, and the folk song "Old Student" has just celebrated his 67th birthday.
As for when the eyebrows were "new", Hu Defu said with a smile, after he participated in the Q&A of the mainland's "Zhihu" platform and Douban launched his music. In the same period, Phoenix Network also launched "Weiyang Song", in the process of Taiwanese folk songs told by this humanistic music documentary, Hu Defu ran through the front and back, he was the deserved father of Taiwanese folk songs.
The poet Yu Guangzhong said that Hoodev's body lived in a deep bellows, and Bai Yansong wrote the preface to his book, saying that he could hear "years and mountains and rivers" in his songs, and that "the road traveled by a man" could be seen in the text. Jiang Xun praised that his song was the most beautiful voice in Taiwan. Mr. Lee said he was an important start to Taiwanese pop music.
Once, he was the performer of the first concert in Taiwan, after which he was silent for thirty years and joined the Taiwanese Aboriginal Movement. When he was white-haired, he turned around and came back to publish an album, attended a music festival on the mainland, and walked among the young people of the mainland. He even bluntly said that Taiwan had disappointed him a bit, and that the development of folk songs on the mainland was just in time.
△ Hoodev is playing
<h1>Go among the young</h1>
At the tail end of October, Beijing has cooled down. Through the cold night of the city, a group of young people rushed to the 77 Theater located near Dongsi, where they came for Hoodev.
This is the scene of the launch of the documentary "Weiyang Song". The audience sat on the floor, in two rows, and after Hoodev went on stage to play a tune, he walked into the crowd, he squatted slightly, a large and generous hand resting on the young man's hand, and after taking a seat, in the shimmering stage, the young man turned his head to look at him and smiled.
On November 5, Hu Defu came to the small town of Chishui in Guizhou to participate in a music festival in a valley. In recent years, Hu Defu has frequently appeared in many music festivals in China, along with those well-known folk singers in the mainland, Wild Child, Zhao Lei and Ma Wei. He doesn't need to be polite to stir up the mood. In the hot music festival, he sat in front of the piano and sang, the atmosphere was instantly quiet, followed by a burst of cheers, and then he would introduce the next piece slowly and carelessly.
On November 7, Hu Defu broadcast the first episode of Douban's oral column, telling his own songs and telling the story of Taiwan in an oral way.
"In the oral history of the aborigines of Taiwan, it is the oral transmission of such a lineage, because we have no writing, and the ancestors have dictated from generation to generation, and the genealogy, the history of their own nation, and the method of their own national migration have been continuously passed down through his tone." Forty episodes of the show, he told the story. And this kind of listening paid column is exactly the popular way in the mainland's new media communication.
He also went to Zhihu to do real-time Q&A with young people. In one hour, I answered real-time questions from 6 netizens, and the theme of this Q&A was "The world is not bad enough to need music".
"Do you know that Douban, knowing that these platforms are what young people in China like to go to?" Deeply asked.
Hoodfu patted his thigh: "That's the way it is, so let's go to the right place, with the young man." ”
Taiwan's school folk era was opened by "young man" Hu Defu.
In 1972, in order to earn money to treat his father's cancer, Hu Defu was introduced by a friend and sang in a Colombian café in Taipei, jiang xun, Hu Yinmeng, Zhang Aijia, Li Zongsheng, Cai Qin, Qi Yu, these big vs of Taiwan's cultural and artistic circles, also listened to his songs offstage that year.
In May 2006, Hu Defu came to the mainland for the first time to perform at the Old Yugong Moving Mountain Bar in Sanlitun. The small venue is almost crowded with all the big names in the Chinese folk music industry. And it's where Beijing's young people love to stay.
Bai Yansong prefaced Hudev's book "We Are All Passers-by", in which he wrote: "I used to think that young people would not like his songs, I was wrong."
△ At the "Weiyang Song" press conference
<h1>Folk songs are just in time on the mainland</h1>
Hudev is not satisfied with Taiwan now.
"Many programs in the mainland are now telling about books, poetry, and the stories of craftsmen, but Taiwan is reporting on which celebrity gets married and who fights with whom," Hu Defu said in the process of talking with Shen, "The mainland is very clear that these things are helping the art culture on the earth, and many forces of artistic fusion can also collide." ”
Khudev sensed that mainland folk songs were booming because "the vastness of the continent and the richer language make folk songs more likely." ”
He felt that the mainland folk musicians Su Yang, Zhou Yunpeng, and the Wild Children's Band were all original ecological creations that enriched the mainland's regional culture, and such music was becoming less and less common in Taiwan. "Taiwanese folk songs have to go a lot of roads, but they should have gone but they didn't go, and now it's very hard to walk."
"There are aboriginal chants in Taiwan, but they were not integrated into the music very early on. Today's children want to make these things again, to become their elements, and they need to learn very hard from the ancestral singing, the tribal singing. In the trend of this era, they still want to do some creation, and find that the material is not enough, the elements are not enough. "And at that time, whoever wanted to sing the songs of the aborigines would sing, and folk songs like this, or Hakka mountain songs, were all kinds of feelings that were not in the flow.
He also said that this was not only a matter of music education policy, but also because of the special political environment in Taiwan at that time, and the people were not culturally confident.
Hu Defu can't help but think that in 1975, Yang Xian and he held a concert of "Chinese Modern Folk Song Night" at Zhongshan Hall in Taipei. This is the first performance in Taiwan, and this year is also the "First Year of the Era of Taiwanese Folk Songs".
In 1976, at a Western song concert at Tamkang University, the musician Li Shuangze took a bottle of Coca-Cola to the stage and issued the most conscious question from Taiwan: "Whether it is Europe, the United States or Taiwan, drinkIng Coca-Cola and listening to foreign songs, where are our own songs?" He slammed the Coke in his hand to the ground. This incident immediately triggered a discussion in Taiwan's cultural circles: Who are we? What is your own song?
The Taiwan folk song movement has since begun. Under the influence of Hu Defu, Hou Dejian, Luo Dayou, and Ye Jiaxiu all threw themselves into the Taiwanese folk song movement, and in the 1980s, the film "After the Catastrophe" brought about a general panic in society, and a series of critical realism creations emerged in the Taiwanese music scene, and Luo Dayou took the lead in rebelling against the past folk song style.
At this time, the mainland's popular music had just come out of the era of red songs, and then in 1987, Taiwanese society ushered in the lifting of strictness, and a magnificent era came to an end, and the surging folk song movement also retired. During this period, it was the music boom in the mainland, the influx of new winds from Hong Kong and Taiwan, and rock music such as Cui Jian, Tang Dynasty, and Magic Rock swept the mainland.
Hudev said that in the past two years, the popularity of mainland folk songs has risen again and returned to the public eye, which is a good thing. "Everyone is groping, and how far this road in Taiwan will go, how far, the climax of Taiwanese folk songs may have passed."
In a program, when a Hainan audience member asked why Hainan did not have such a rich cultural level as Taiwan, hu Defu replied: There were no folk songs in Taiwan before, and it was he, Li Shuangze, and Yang Xian, three stinky cobblers, who decided to plant the songs, and then the land blossomed.
△ Hoodev's music album
<h1>
Popularity and comeback
</h1>
In 2005, at the age of 55, Hu Defu returned to the music scene after 30 years of absence from the music scene, releasing his first solo album "Hurry", and the song "Pacific Wind" won the Golden Melody Award for Best Lyricist and Best Song of the Year the following year.
"Where has Hoodev gone?" For a while, everyone was asking.
He just said lightly: I am still singing, and doing something for my compatriots. "To put it mildly. In fact, what he did was not a small thing.
In 1983, Hudev began to intervene in non-party movement groups as an indigenous person, using the opportunity of non-party magazines and various performances and speeches to inform the society of the situation of indigenous people. In 1984, he participated in the establishment of the "Association for the Promotion of Indigenous People's Rights" and became an important force in promoting taiwan's democratic progress, and the title of "Pioneer of taiwan's Aboriginal Movement" was derived from this.
After Hudev returned to the stage, everyone advised Hudev not to sing "Beautiful Island", which was entangled with Taiwanese politics, which caused him to be banned in Taiwan for decades and could no longer sing in public. Rejected by him. "This song is a tribute to the people of the land, without any partisan color, against this thing, I can't sing."
The famous musician Ma Shifang once said that this was originally a bright, open and joyful song, but it was what happened later, which put a bitter color on it. At the concert in Beijing, when Hu Defu sang the most classic passage of "Formosa Boulevard": "We have brave people here, and the blue wisps of the road are blue to open up the mountains and forests." We have endless life here, buffalo, rice, bananas, magnolia flowers. Ma Shifang burst into tears, and the audience also shed tears.
In Taiwan, the "Formosa Boulevard Incident" is well known, and the song "Formosa Boulevard" was originally the legacy of Li Shuangze, a pioneer of Taiwan's campus folk song movement, discovered by his friends Hu Defu and Yang Zujun after his death, and then sung. The song was filled with a strong nostalgia complex, but at that time it was banned by the authorities as a "Taiwan independence" song, and Hu Defu and Yang Zujun naturally became "problem singers" and were banned, but the vitality of this song was getting stronger and stronger. For the first performance on the mainland, Hudev also insisted on singing this song for the first time.
"Before, when I started singing About Formosa Boulevard, everyone would avoid me, and everyone would treat me like a politician. I talked to Yang Zhujun later, I am a singer. "Once, when I came on stage and said that I was going to sing this song, Cai Qin knelt down for me as soon as she came up and said, "I'm going to kneel for you, I said no." He revealed to Shen that there was no rehearsal at that time, he was the only one who sang three songs, and when he finally sang Formosa Boulevard, many people rushed out of it to sing together.
"Now folk songs are more about conveying a culture and thinking about life, rather than promoting some specific movement." He replied to the events of that year.
Now Hu Defu, in Taiwan, will only do one or two performances a year, more time, he will enjoy the beach in Taiwan, in the morning to watch the sunrise, watch the sea, walk the dog, come back to write a book, think of the childhood friends back in the song "the child on the back of the cow" look. In the folk circles of the mainland, together with some young singers, he became the most anticipated singer in the music festival.
△ Hoodev is performing
Vocalization and expression
Hudev's folk songs are full of mountains, rivers, rice and the most ordinary winds, and beyond the folk songs are his childhood, his hometown and his Taiwan, and our past. The heart of the naked child is the evaluation of many netizens to Hu Defu folk songs.
"Was it the shepherd boy on the back of the cow, flying and jumping with the north wind, eating the grassland on the slope of the hill, watching the goshawk that was dancing and dancing, tying a machete barefoot all day long, and the child on the back of the cow still on the back of the cow..." More than fifty years after leaving his hometown, Hudev still remembers a fragrant valley called Garland, thinking of his childhood playmates, and later had this song "The Child on the Back of the Cow". He said that it is not only a memory, it is also a memorial, a childhood poem that cannot be erased in the heart.
Childhood, hometown, and aborigines form the three elements of Hoodev folk songs. His integrity, his compassion, and his tenderness toward the natives drifted out in a thick voice. Some music critics said: "As soon as he opened his mouth, the whole world was silent." In the plainest language, he sang his thoughts. "Sing your own song" to him is not only a statement, but also an expression. Just like behind "Beautiful Rice Ears", there are mature rice ears rotting in the ground, and Zhuang Ding is sent to the front line in silent protest.
"Folk songs are the way a nation or a group of people express their opinions and voices, whether it is an attitude toward politics, or an appeal to their own conditions for survival and development, or a demand for basic dignity, whether it is a black people's song or our song, you can see the traces of speech." That's what matters." On October 29, At the press conference of "Weiyang Song", Hudev said so.
In fact, almost every song of Hoodev is expressed. He said that now everyone has the right to speak about what songs they want to sing, and the songs they write are rooted in this land, whether it is an expression of pain or joy.
In 1984, the Haishan Coal Mine in Taipei County exploded, burying 74 miners alive, including 38 indigenous people. Khudev was personally involved in the rescue and was greatly stimulated by the sight of the dead miners. From this, he constantly questioned: why so many people are floating in the untraceable ocean, why we are forgotten in the corner, why so many people are pouring into the dim pits, the loud noise, the surging gas filling the chest of the whole nation...
Melodious songs tell the helplessness of the indigenous people. The aborigines are the indigenous people of Taiwan, previously known as mountain people and mountain compatriots, most of whom live at the bottom of society and are marginalized. In the same year that the coal mine exploded, Hoodfu, who had been greatly stimulated, was determined to do something to change the lives of his compatriots.
In that year, Hu Defu founded taiwan's first group to appeal to the human rights of indigenous people, the Taiwan Indigenous People's Rights Promotion Association (The Taiwan Indigenous People's Rights Promotion Association), and successively promoted the "Correct Name Movement", the "Return My Land" movement, and the struggle for seats in the Indigenous People's Legislative Council. It is required to change the usage of "mountain compatriots" and restore traditional personal names, tribal local names, etc.
It was Hoodev who gave the idea of music. His integrity, compassion, frankness, infinite love for his hometown, full of tenderness for his own nation, and sharp observation of world affairs are deeply permeated in every lyric he wrote. Perhaps just as he promised Li Shuangze to "sing his own song", because of such fearlessness and open-mindedness, there is a more exuberant singing voice, and his song can become history and become a witness.
Each struggle is a protracted tug-of-war. According to Nandu Weekly, due to his overactivity in the indigenous movement, Khudev became the focus of the authorities, in addition to eavesdropping, stalking, and his family was also threatened. At that time, a commissioner of the Taiwan authorities took 5 million yuan to persuade Hu Defu's mother not to mention the indigenous people's affairs again, otherwise he would be arrested and taken to Green Island. Hu Defu's mother responded peacefully: "I can't see my son in Taipei, I look at Green Island every day in Taimali, you'd better close him to Green Island." Subsequently, because of the love of this mother, he wrote the popular "Beautiful Mother of Dawu Mountain".
"He has his own goal, that is, the equal rights of the indigenous people of Taiwan's mountain tribes, and now after so many years of movement, the rights of the taiwanese indigenous people have actually been achieved, equal pay for equal work, and social security have been achieved to the government." Hu Defu's friend told Shen once that not only that, but now whether it is Young people such as Zhang Huimei or Zhang Zhenyue in Taiwan, they all have their own sense of pride in cultural identity as indigenous people. "It was impossible in Hoodev's time".
As he grew older, Hudev developed a different understanding of expression. He revealed that new albums and new books are in preparation and will be released soon.
Many times, he will miss the days of singing in Colombian cafes, "when Hu Yinmeng was still a little girl, always with us." Old friends sang and played the piano together, and now, it's really a hurry. ”