在臺兒莊古城，他們是永不磨滅的記憶

文/程麗 圖/高啟民 高明

在臺兒莊古城，他們是永不磨滅的記憶

IN TAIERZHUANG, THEY ARE THE LAST MEMORY

文/程麗 圖/高啟民 高明

○運河漁鼓傳承人徐明合沿老街說唱。Storytelling and singing along the ancient street by Xu Minghe, the inheritor of canal fi sh drums.

2700多年前，偪陽國開鑿了境內(nèi)最早的人工運河。400年前，臺兒莊古運河通航，從未曾斷流過。臺兒莊古城重建，復(fù)活了18個汪塘和30華里的水街水巷，喚醒了運河生態(tài)文化區(qū)域里的非物質(zhì)文化遺產(chǎn)……

憶往昔，纖夫用生命吶喊的運河號子；運河琴書的藝人走街串巷的狼狽；運河大鼓藝人的蒼涼往事；運河漁鼓藝人奔波在以船為舞臺的苦難生活；運河花鼓戲和魯南“拉魂腔”都被看作是“乞丐戲”。它們還有一個特殊的名字叫“煩人歌”，在舊時的臺兒莊流傳著“何以解憂，唯有杜康”，更有“煩人歌”的說法。這是他們對現(xiàn)實生活的無奈與煩惱，對美好生活的向往與寄托?！叭帐城Ъ颐?；夜宿古廟西；錦繡包窮骨，一伙討米人”曾是這些老藝人的真實寫照。正是他們的執(zhí)著和辛酸，重新喚起臺兒莊生生不息的文化記憶。

運河號子傳承人徐德光時常來到臺城舊志景區(qū)駁岸上的電子大屏幕前，聆聽他自己喊起的運河號子，目光里蘊含著激情、幸福與向往。

“三八年拯救臺兒莊，又建古城七十載，現(xiàn)如今咱政府發(fā)表聲明把古城建……古城里，風(fēng)景好，一個一個步門庭，還有大鼓和皮影，包讓人一夜不眠，點火放花，人民安居在古城……”

又一段大鼓詞唱出了非物質(zhì)文化遺產(chǎn)傳承人的喜悅與自豪。

運河花鼓唱腔里流淌著大運河的血液，舞姿里傳承著民間的精靈?！盎ü?，花鼓，敲鑼打鼓；女頂彩球，男挎花鼓；蹦蹦跳跳，有文有武；追根溯源，晉朝有祖”。

船型街上搭起了舞臺，“拉魂腔”在船型街高亢助興，時常是圍得里三層，外三層。在臺兒莊流傳著“拉魂腔一來，跑掉了繡鞋；拉魂腔一走，睡倒了十九”的民諺，足見柳琴戲在當(dāng)?shù)厥軞g迎的程度。

“運河古城歷史長，大漢朝就有臺兒莊。原本是個小村落，運河為他創(chuàng)輝煌”……瞧，唱運河琴書的夫妻唱的那叫個帶勁兒。

聽，千年來，為謀求生計的“煩人歌”，時至今日，成為大放異彩的非物質(zhì)文化遺產(chǎn)，老百姓心里一曲曲歡樂的歌……

○魯南皮影戲吸引著游客駐足觀看。The shadow play of south Shandong attracts the visitors.

Over 2700 years ago, the earliest artificial canal in the territory was excavated in the state of Biyang. 400 years ago, the ancient canal of Taierzhuang was opened for navigation, and has never dried up since then. The reconstruction of the ancient town of Taierzhuang has revived the 18 pools as well as the water streets and water alleys to the length of 30 li (15km). It has revived the intangible cultural heritage in the eco-cultural region of the canal…

Looking into the past, the boat trackers raise the work song of the canal with their full force; the enchantment of the canal storytelling artists walking in the alleys; the desolate history of the past canal drummer artists; the difficult life of the canal fish drummer artists running on the stage of boats; the flower-drum opera at the canal and the “Lahun opera” in Southern Shandong are regarded as the “beggar opera”. It is their persistence and bitter life that arouse anew the cultural memory of Taierzhuang with its circle of life.