


















































Journal of Green Learning


Journal of Green Learning, e-ISSN 2807-890X 

Vol. 2, No. 1, 2022, pp. 78-85.  
DOI: 10.53889/jgl.v2i1.91 

-------------------------------------------------------- 

 

Contemporary Dai folk song in Xishuang Banna by Yuguang: 

June Spring Warm Look Forward to Lovers 
 

Shengchuan Ruiji
1
 

1
 Faculty of Music, Bangkokthonburi University, Bangkok, Thailand   

 

Article Info  ABSTRACT 
Article history: 

Received February  27, 2022 

Revised   March 24, 2022 

Accepted April 2, 2022 

 

 The objective of this paper was to study the “June spring warm look forward to 
lovers,” which was composed by Yuguang in Ga Sa Village, Xishuang Banna, 

Yunnan Province, China. Field study in 2021, using an anthropological 

approach to explicate characteristics of Yuguang's contemporary compositions, 

based on Dai culture and Zhangha cultural symbol. The results of the study 

were as follows: “Zhangha, a cultural symbol, constitutes the materialized 

carrier of people's concept of the harmonious special culture of people under 

the unique context and religious spirit of the Dai people. The structure was 

similar to the rondo form or ABACADAEFA. The composer has created and 

stands out  as follows: The traditional melody of “Zhang-ha”, which makes its 

apperance in the accompaniment timbre, breaks through the single technique, 

thus generating this modern Dai song. There are two interesting musical 

characteristics: 1) It vividly depicts the lively and jubilant scene of guests 

arriving to celebrate the new year in the Dai New Year, with a beautiful, vivid 

melody and passionate lyrics. That describes the happy and sweet mood of 

lovers when they get together. 2) The song’s musical structure is a typical 

multi-periodvariation structure. At the same time, the rhythm of the whole song 

is distinct, and the melody range changes freely. 

 

Keywords: 
Contemporary 

Dai Song characteristic  
Zhangha   

 

This is an open access article under the CC BY-SA license. 

 
Corresponding Author: 

Shengchuan Ruiji 
Faculty of Music 

Bangkokthonburi University  

Bangkok  

Thailand 

Email: 6260110023mu@gmail.com 

 

1. INTRODUCTION  

 Dai culture in Xishuang Banna: The emissary of Dai culture inheritance in Xishuang Banna, Yunnan 

Province, China. “Zhangha” has become a materialized way of the existence of the harmonious special culture of 

people and land in Xishuang Banna under the unique context and religious spirit of the Dai people. It was not 

only a unique form of rap music spread among the Dai people in Xishuangbanna, Zhang Ha also refers to the 

folk singers who are active in the counties of Xishuangbanna Prefecture. They have become the disseminators 

and creators of local music culture with their wisdom and soul. As an emissary of the inheritance of the Dai 

culture in Xishuangbanna, whenever Zhangha artists perform in Dai villages, they always get high praise and 

recognition from the public and become an important emotional memory of the process of water and soil culture 

(Juhong, 2004). 

 The Dai nationality in Xishuang Banna had a branch of the Dai nationality, accounting for 1/3 of the 

population of the whole prefecture. It borders Myanmar, Laos, and Thailand. Based on the specific ecological 

tradition of Dai nationality belonging to national identity and religious influence, since the 1940s, the “Zhang 

ha” artists in Xishuangbanna began to use the Dai language when they created and sang Dai songs. According to 

the characteristics of phonology, this language has six tones. Due to different tones, within the same 

pronunciation, it expresses different cultural signifiers and signifiers. As a traditional system of writing with rich 

ideographic connotations, Dai Jiwen records a large number of Buddhist scriptures, Dai poetry, legends, and so 

on, which also provides rich nutrients for the creation of Zhangha. Therefore, from a large number of traditional 

Zhangha repertoire, the traditional Zhangha used by the libretto is almost entirely recorded in the Dai Le 

language, which constitutes the artistic support of “Zhang-ha” accumulation (Ruiji, 2013; Wenhan, 2018). 

https://creativecommons.org/licenses/by-sa/4.0/


79 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 1 Map of Xishuangbanna Village, Yunnan Province, China (Shouhua, 2021) 

 

 Yuguang (玉光; born in 1956-)is a Chinese educator. Zhang Ha, a famous female in contemporary 
Xishuangbanna Dai Autonomous prefecture, is almost a household name in Xishuangbanna and is well-liked by 

Dai people. Because of her artistic achievements and social influence, she was awarded the title of "Mi Saibang", 

the highest level of Zhangha (章哈), by the “Zhangha Association of Banna Prefecture”. At the same time, she 
was awarded the title of "the highest musician" by the people's government of Yunnan Province and the title of 

national intangible heritage inheritor. She has been engaged in art for more than 40 years, which makes her life 

deeply rooted in the traditional soil of Dai national music. She has a strong national style and the rhythmic 

characteristics of symbols. It was the dual combination of emotional experience and innovative consciousness. 

(Yu Guang, personal communication, June-November, 2020). 

 

 
 

Figure 2 Ms.Yuguang performing Zhangha art (Shot by Shengchuan Ruiji, June 2020) 

 

 Creation: June spring warm, look forward to lovers” (六月春暖盼情人), a new work based on the 
traditional method of Zhang-ha and modern means of communication. On the occasion of the Dai New Year in 

2013, the music album “June Spring Warm Look Forward to Lovers” was compiled and composed by a 



80 

 

national intangible heritage inheritor. Yuguang was released in Xishuangbanna. Since its CD-ROM with the 

same name and its main song, it has become a model of popular Dai songs in Dai villages. The success of 

Zhang-Ha's music was precise because Zhang Ha, as a unique local music phenomenon in Xishuangbanna, has a 

deep social influence and affinity with the Dai people, which is because of his natural emotional resonance with 

the people. Thus, through the integration of modern scientific, technological, and fashion elements, the ancient 

music forms can achieve a greater aesthetic effect. 

 Only in this way can “June spring warm look forward to lovers” obtain the promotion and 

dissemination of Dai music in a more open cultural space, which not only enriches the spiritual world of the Dai 

people but also enriches the stock of Dai national cultural treasure. In this sense, the success of this case provides 

a good answer to the above proposition on how to deal with the problems of traditional music inheritance and 

modern aesthetic needs. 

 Musical characteristics of a solo song or musical style: A vocal soloist is accompanied by traditional 

Chinese musical instruments. Modern Chinese lyrics are added to the melody of traditional Dai music, but the 

traditional singing method of Dai songs is still used, and the song melody flows with the pronunciation of the 

lyrics. Therefore, the author intends to create “June spring warm look forward to lovers, which is the folklore of 

the Dai people, in Ga Sa Village, Xishuang Banna, Yunnan Province, China. In order to inherit, preserve “Zhang 

ha” and spread the Dai music, it needs to be accepted further. 

 

2. RESEARCH OBJECTIVE 

 To study the “June spring warm look forward to lovers”, which composed by Yuguang in Ga Sa 

Village, Xishuang Banna, Yunnan Province, China. 

 

3. METHOD  

 The researchers used the field study method for qualitative research, surveys, and studies in 

musicology. Researchers went for participatory implantation, and transmission, interviewing the national 

intangible cultural heritage of Yuguang in Xishuangbanna autonomous prefecture.  

 The study’s scope 

 1. Field study: Dai culture inheritance at Ga Sa Village (嘎洒), Xishuang Banna, Yunnan Province, 
China. 

 2. To explain the inheritance of the song of Yuguang, which is the contemporary Dai Song of “June 

Spring Warm Look Forward to Lovers” only. 

 3. Field research from 2020-2021. 

 This contemporary Dai Song was recorded and analyzed. The researcher went for participatory 

embedded and broadcast, interviewed the national intangible cultural heritage with village scholars, chatted with 

Yuguang between 2020 and 2021, and requested permission to record images, sounds, and animations for local 

performances.  

 Then review, paraphrase, interpret, and analyze this contemporary Dai Song in Xishuangbanna 

Autonomous Prefecture. As a person in society, by piercing the description and reflection of the song “June 

Spring Warm Look Forward to Lovers” in terms of structure, A distinctive feature that relates to “Zhang ha”, 

the foundation of traditional local music. 

 

4. RESULT  

 Background and inspiration: From the author's field study, he found happiness and heard many Dai 

people's folk songs many times. In particular, listening to the vocals and lectures from teacher Yu Guang and the 

importance of Zhang Ha as a unique “local” music phenomenon in Ga Sa Village, Xishuangbanna. It made me 

want to describe the village scene and the warmth I found. The flirtation between young people in a variety of 

ways is thus portrayed as the song “June spring warm look forward to lovers”. 

 The musical characteristics: The composition: The traditional melody of “Zhang-Ha” with electronic 

music, which makes it “band like” in the accompaniment timbre, breaking through the single technique of “bar” 

as accompaniment in the traditional paradigm, thus generating this modern Dai song. “June Spring Warm Look 

Forward to Lovers” this modern or contemporary Dai Song. There are two interesting musical characteristics: 

 First of all, with a beautiful, vivid melody and passionate lyrics, it vividly shows the lively and jubilant 

scene of guests coming to Xishuangbanna to celebrate the new year in the Dai new year. It describes the happy 

and sweet mood of lovers when they get together. 

 Secondly, the musical structure of the song is a typical multi-period variation structure. At the same 

time, the rhythm of the whole song is distinct, and the melody range changes freely within eight degrees. 

 The structure of the music is as follows (Table 1): introduction, first to fifth paragraphs, interlude, and 

epilogue. 

 

Structure Multi segmental musical structure 



81 

 

Table 1 Music structure 

 

 

 Through the above structural analysis, it can be clearly seen that "June Spring Warm Looking for Lover" 

is composed of five sections, which breaks through the lack of literary play in the lyrics due to the mono-form of 

traditional “Zhang ha”, thus satisfying the psychological needs of modern listeners for consistency of time and 

space information.  

 At the same time, through observation, we also find that this song has a feature in terms of musical 

form: the lead, interlude, and epilogue are all composed of material A, and even the lead and interlude are 

completely reproduced. Only in the epilogue, the author makes some changes to make it “A.” This arrangement, 

on the one hand, makes the tonal mode revolve around this musical thought and forms an organic circulation 

pattern between the melodies. On the other hand, this arrangement is similar to the variation of the opera 

"compression and extension" way, enriching the form of the framework. The material that appeares again and 

again in the work, even if the traditional music veins throughout, strengthened the mode of the consistency of 

style, making the music materials in contract uniform rolling facilitate memory and transmission, such as: The 

first paragraph to paragraph 5, using the B, C, D, E, F materials, appear to be different materials, but in fact, the 

material is all about the three main notes (Passages 2), interspersed with 
#
re and 

#
la, it supports the channel mode 

characteristics of the works.  

 Example 1 is the first section of the music. The primary and secondary positions of these notes can be 

clearly seen during the first section of the formal song. Throughout the work, not only does 
# 

do appear the most 

times, but also the note is placed on # do at the end of the piece (Passages 4), thus highlighting the melodic 

nature of  
#
c pentatonic mode. 

 

Passages 2 

 

 

 

 

 

 

 

 

Passages 3 

 

 

 

 

 

 In the arrangement of the melody, the tone is mostly placed in tone, and the melody of each sentence 

processing is mostly used to alternate upward or present a vaulted mode (Passages 4). In such an arrangement, 

the lyrics cooperate with rhyme and rhythm of dynamic, producing quite an effect on the rise and brightening the 

music’s positive atmosphere. For example, two phrases in the prelude are also well reflected: the first one twists 

upward and stops at 
# 
sol, while the second one arches and starts with 

# 
la and ends at 

# 
do. 

 

Passages 4 

 

 

 

 

 

 Of course, this type of aesthetic shaping cannot do without the use of rhythm. In the continuous 

development of the basic structure of the eighth note, including the use of appoggiatura, dotted notes, and rest 

signs (Passages 5), the rhythm of the melody will always maintain an undulating rhythm, constantly meet the 

Passages prim

ers 

First 

passage 

Interlu

de 

second 

passage 

Interlu

de 

third 

passage 

Interlu

de 

fourth 

passage 

fifth 

passage 

Conclusio

n 

Content A B A C A D A E F A´ 

Section 1-10 11-42 43-52 53-85 86-95 96-133 134-

143 

144-168 168-206 207-211 

Tonality 
#
C palace pentatonic mode 



82 

 

psychological expectations, and make the unique charm of Dai music as soft as water manifested in the 

extension of time. 

 

 Passages 5 

 

 

 

 

   

 Throughout the design of the libretto, "looking forward to lovers in spring in June,” it had a 

combination of long and short sentences, which has obvious traces of learning from the Han metrical, as the 

traditional singing of Zhang Ha was pronounced in the Dai language. The Dai language was composed of six 

tones from the perspective of tone beauty, so the rhythm of the love song was closely combined with the 

language in the range because of the unique rhyme beauty of the Dai language lyrics. This song can express the 

beauty of cadence under the singing of the cultural holder, Zhang Ha. 

  In addition, the life-oriented descriptive "looking forward to a lover in June spring" generally uses 

personification and lining words in the lyrics, which makes the characters depicted in the song vivid. It was close 

to the feelings of the Dai people, so it could be widely spread. 

 Song 1 follows the traditional rule of Zhang-Ha and determines the rhythm of the song according to the 

pronunciation of the words; that is, it determines the direction of the singing according to the tone of the 

language. Throughout the song, the last word pronunciation should be complete, so that its music form presents 

the unique characteristics of Dai music, especially in the voice of decorative sound. It pays attention to the 

combination of correct character and round tune and line tune according to a character. In accompaniment, the 

band imitates the timbre of the Dai elephant foot drum with a low voice synthesizer, breaking through the 

traditional rules of movement in rhythm processing, thus bringing aesthetic imagination to the audience, Finally, 

it needs to be commented on by academia and the public. 

 

Paragraph 1: The lyrics go like this: 

英俊潇洒的帅哥们 A handsome lover 
妹有缘和你们相聚一堂 Sister is destined to meet you 
妹心里牵挂着情郎 Sister in the heart about the lover 

心系儿时两小无猜的伴侣 I miss my childhood friend   
妹还想着敬仰的情人 Sister still thinking of the lover 

当我坐在床边的时候，你知道我有多想你吗 
妹妹一直在床边想念着你，我英俊的情郎 

我想念我的爱人在这个六月的春天 

Do you know how I miss you when I sit by the bed? 

My sister has been thinking of you by the bed, my 

handsome lover I miss my lover in this June spring 

(Translator: Dao Zhengming,Kang Langzhuang. 

Recorder: Shengchuan Ruiji) 

 

 As a variation form of compression, paragraph 2 does not have the melodic structure of a large section, 

which is basically the end of the song. That is to say, the end of each line is generally no more than two beats. 

This melody, characteristic of no longer supporting tone, is exactly the expression of chanting nature in 

traditional Dai songs. At the same time, the length of the phrase is interchangeable without considering whether 

it is symmetrical or not, which highlights the jumping nature of rhythm.  

 In the description of this verse, the literary image adopts the personification technique, endowing 

people with the emotional support of the windflower, turtledove, and fish, and expressing in vivid and vivid 

depiction the mood of the Dai girls looking forward to the early return of their lover to the village to spend the 

New Year with them, thus completing the shaping of the artistic image in the urgent and tight music. This leads 

the audience into the mood of the passage. 

 

Paragraph 2: The lyrics are as follows:  

 

春天,美丽的春天! Spring, beautiful spring! 
五月终于过去了，迎来了六月的春天! At last May passed, ushering in the spring of 

June！ 
白头翁在树林里啼叫! The Pulsatilla is crowing in the woods！ 
村子里的人们都很快乐 The people in the village are happy and cheerful 

小斑鸠成双成对 Little turtledoves in pairs 
鱼在河里游泳产卵 Fish are swimming in the river to lay eggs 



83 

 

傣历新年我们要准备一个庆祝仪式 Dai calendar New Year we want to prepare a 
celebration ceremony 

(Translator: Dao Zhengming,Kang Langzhuang. 

Recorder: Shengchuan Ruiji) 

 

 In Paragraph 3, the song vividly depicts the lively and jubilant scene of all the guests coming to the 

festival in the Dai New Year, especially the depiction of the sweet mood of lovers when they are together. With 

the musical language of singing and dancing, it enhances the wonderful scenery of one side of the land and 

water. 

 

 Paragraph 3: The lyrics are as follows: 

嗨，嗨，来吧，亲爱的，回来 Hello, Hello, come on, honey, come back 
只要哥哥喜欢妹妹 As long as brother likes sister 

请给你妹妹戴上一条项链 Please put a necklace on your sister 
请给我妹妹梳头 Please comb my sister's hair 

我想要我的头发上有花 I want flowers in my hair 
哥哥和妹妹我 Brother with a sister Me 

过一个快乐的春节 To spend a happy Spring Festival 
我们俩手挽着手 The two of us linked arms 
情侣一起庆祝 Pair up for a celebration 
到会的人真多 There are so many people at the meeting 

来自各个村庄的兄弟姐妹聚集在这里 Brothers and sisters from all villages gather here 
四面八方的客人也来了 Guests from all sides also come here 

西双版纳的傣族新年非常隆重 The Dai new year in Xishuang Banna is very 
grand 

哥哥和妹妹庆祝新年 Brother and sister celebrate the New Year 
庆祝新年是人们的传统 It is a tradition for people to celebrate the New 

Year 

妹妹，我想跟着我弟弟 Sister, I want to follow my brother 
到处都是跳舞的人 There were dancing dancers everywhere 

傣族人擅长唱歌和跳舞 Dai people are good at singing and dancing 
官员和村长 Officials and village elders 

和我们一起过节吧 And join us for the holidays 
在这幸福欢乐的节日里 In the festival of happiness and joy 

所有的客人都来了，真是太好了! It's so nice of all the guests to come! 
(Translator: Dao Zhengming,Kang Langzhuang. 

Recorder: Shengchuan Ruiji) 

 

5. DISCUSSION 

 As a unique musical vocabulary, Zhang Ha has its own unique local characteristics and stable aesthetic 

psychology among the Dai people. As a representative of Zhang Ha: Jade Light teachers created this song, Dai, 

on the basis of the traditional music, conducted on the relationship between language and melody, adopted the 

form of a dance song recorded in her album, letting more people by viewing Dai song get a preliminary 

understanding of Dai life art, and so did the initial enthusiasm of Song sung Dai, increasing the social impact of 

music transmission. 

 The spreading meaning:“June spring warm look forward to lovers” employs music as a vehicle and 

literary description as a means. In the process of its dissemination, it not only inherits the blood culture created 

by Dai ancestors but also constitutes the living dissemination of Dai's common cultural memory. Especially in 

the current era of globalization, Dai music provides a paradigm in the artistic exploration of how to make 

national music continuously integrate, continue, and maintain the distinctive characteristics of national music 

(Juhong, 2004; Ruiji, 2013). Through means of adaptation to the social environment, Dai songs aim to let more 

Dai people deepen their national identity through the interaction of various means of communication in the new 

social environment, so as to achieve the purpose of inheriting and promoting Dai culture (Ruij, 2013). The 

highlight of characteristics in one culture is a significant sign that one culture is different from another, and it is 

also an effective way for a nation to obtain cultural identity and enhance cohesion. The highlight of the 

characteristics in folk songs is the "way of expression" and way of life of a specific social group. 

 Xiaoyun (2002) the culture of the Huayao Dai and its prospects in the upper reaches of the Red River. 

Reportedly, Tai people, formally of Dai nationality in China, number 1.1 million. One of the greatest 

concentrated regions of Dai people in China is the reaches of the Red River, called the Yuan Jiang 

River.Traditionally, the Dai people of the upper Red River were called Huayao Dai, or "Flower Waist" Dai, 



84 

 

because of the long and colorful waistband that is an ethnic symbol of the women. Therefore, it is consistent with 

the description of Yuguang's work that aims to compose and sing the song of love in the spring to pervade the 

land to reflect or communicate with outsiders. 

 On the dynamics of society, it was found that Oranratmanee (2021) presented an article titled “The 

Dynamic of the Dai Cultural Landscape in Dehong in the Sociopolitical Context of China.” It was found that Dai 

culture still influences the way of life in society under dualistic patterns of Dai and Chinese cultural landscape 

that are not observable in other Dai cultural territories, and the peasant ways of life of the villagers, whilst 

Chinese characteristics have influenced more in terms of houses and the ways of life inside. Their hybrid 

Chinese/Dai built forms are comparable. Similar to the social dynamics occurring in the Dai culture in 

Xishuangbanna. Shengchuan Ruiji (2013) explains that their hybrid Chinese and Dai. Dai culture takes root in a 

new society, accepting economic prosperity through tourism and the song of happiness. Warmth through the 

vocals with Yuguang is one of the cores of the show and is transmitted to children and young people. 

 Therefore, the song is widely accepted by the Dai people, which justifies its purpose. As a kind of 

academic expression, we say that "oral tradition" is the spiritual creation of a specific social collective. Folk 

songs have written the history of each nation. It is a tradition that has a long history and is more deeply rooted in 

the hearts of the people than the literary tradition. It is precisely this collective creativity that creates the effective 

inheritance of national culture in ethnic groups. It is an effective way to protect cultural ecology and preserve 

cultural diversity. Therefore, as a national non-material inheritor, the teacher’s Guang (2020) song is not only a 

contemporary Dai song with popular elements but also a new folk song of Xishuang Banna and a tourism 

product to promote Dai culture during the recording of a love song in order to make the music performance not 

only comply with the aesthetic needs of the urban audience but also not lose the traditional charm. On the basis 

of music score, the teacher. Guang (2020), carefully designed his own creative style: he tried to emphasize the 

emotional changes of different musical expressions in singing and strove to do a good job in the tonal processing 

of language rhymes in the performance of lyrics. In order to realize the organic combination of popularization of 

music sound and expression of national charm, a unique form of folk music is adapted to a cultural image with 

universalaesthetic significance (Rujii, 2013). 

 As a famous tourist attraction, Xishuangbanna attracts tens of thousands of tourists every year. In this 

context, the Dai people's unique songs and dances not only provide a showcase of their own cultural creation but 

also enhance the pride and identity of the Dai people in spreading their own culture. Regarding the various 

national cultures created today, folk music, how to actively adapt to the development of society and stick to its 

own characteristics, requires time to prove, but the teacher as a state-level chapter jade the light passing on, in 

the practice of singing art to spread in the album, for our thesis may provide an effective text paradigm. 

 Toward the end, this paper wants to reflect on love. The joy of music is based on Zhangha, which is the 

symbol of society. Teacher Yuguang has created a new song and music to communicate and reflect the peace 

and tranquility of nature with good culture. The people of Dai village live through the integration of Chinese 

culture, which has permeated ethnic societies not just through political force. Not only from teacher Yuguang, 

but also from voluntary social integration and cultural assimilation over time, precious music has resulted. There 

is still a new generation of young people who create their own unique art but are still waiting for the time of 

maturity and growth. 

 

6. CONCLUSION 

 Dai culture in Xishuangbanna village in Yunnan Province, China. As a cultural symbol, “Zhangha” 

constitutes the materialized carrier of people's concepts.The structure is similar to the rondo form or 

ABACADAEFA. From the song, the musical characteristics that the composer has created and stand out are as 

follows: 

 The traditional melody of “Zhang-Ha” with the composer, which makes it in the accompaniment 

timbre, breaks through the single technique accompaniment in the traditional paradigm, thus generating this 

modern Dai song. There are two interesting musical characteristics: 

 First, with a beautiful, vivid melody and passionate lyrics, it vividly shows the lively and jubilant scene 

of guests coming to celebrate the new year in the Dai New Year. It describes the happy and sweet mood of 

lovers when they get together. 

 Secondly, the musical structure of the song is a typical multi-period variation structure. At the same 

time, the rhythm of the whole song is distinct, and the melody range changes freely within eight degrees. 

 

 

 

REFERENCES 
China Xishuangbanna Tropical Botanical Garden, Chinese Academy of Sciences Menglun Township, Mengla 

county, Yunnan province 666303, China 



85 

 

Guang, Y. (2021). “Zhangha". national music by Shengchuan Ruiji, personal communication, (June, September, 

November, 2021). 

Juhong, A. (2004). Study on water culture of Dai nationality. Central University for Nationalities, 9(20), 55-56.  

Kang Langzhuang.“Zhangha". national music by Shengchuan Ruiji, personal communication, (August-

September, November, 2021). 

Oranratmanee, R. (2021). The dynamic of Dai cultural landscape in Dehong in the sociopolitical context of 

China. Kasetsart Journal of Social Sciences, 42(2), 377-382.  

Ruiji, S. (2013). The speech and singing of another voice - on the artist Yu Guang of "Zhangha". National 

Music, (01), 74-75.  

Shouhua, Y. (2021). Xishuangbanna Tropical Botanical Garden, Chinese Academy of Sciences Menglun 

Township, Mengla county, Yunnan provinc, http://english.xtbg.cas.cn/au/ct 

Wenhan, A. (2018). Reference grammar of Xishuangbanna Dai language.Shanghai Normal University. 

https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CDFDLAST2018&filename=1018215146.nh 

Xiaoyun, Z. (2002). The Culture of the Huayao Dai and its Prospects – Comparative Research on the Cultural 

Characteristics of the Dai Peoples Living in the Upper Reaches of the Red River. MANUSYA: Journal 

of Humanities, 5(2), 6-15. 

Yiqiang, C. (2015). Geographical location of Xishuangbanna. Chinese Academy  of Social Sciences, 1(14), 24-

25. 

Yongxian, Q. (2015). Difficulties and Chances for the Inheritance of Dai Poetry. Journal of Guangxi Normal 

University for Nationalities, 1(5), 22-26. 

Yongxian, Q. (2018). Talking about the oral poems of different branches of Dai people and their inheritors. 

Journal of Guangxi Normal University for Nationalities, 1(3), 6-12. 

 

 

 


