Since the early twentieth century, Hong Kong has always been an important venue for Cantonese opera development. After 1949, as a result of political turmoil in the Mainland, performers and troupes converged and resettled in the territory, leading to a tremendous prospering of Cantonese opera in the subsequent decade. This development is linked intimately with the rise of the electronic media.
Performers and troupes began to grasp the possibilities offered by film and radio to re-examine age-old performance practices with regard to acting, singing, script writing, instrumentation, and stage set-up. They brought in novel elements from the theatre and movie world, and participated in the production of films and records. With these acts, they are extending the movement to modernize Cantonese opera that began in the 1930s.
Wong Jum-sum was thoroughly immersed in the world of Cantonese opera from young. Through his close encounter with master performers like Hung Sin-nui, Ma Si-tsang, Yam Kim-fai, Pak Suet-sin and Tong Dik-sang, he witnessed first hand the modernization of Cantonese opera, and was mightily moved by the adventure and passion he saw.
作曲：Irving Burgie
作詞：胡文森
主唱：鄭碧影、鄭君綿
男唱：唉唷唉唷
週身郁躝得一身都蟻
女唱：唉唷唉唷
週身郁躝得一身都蟻
男唱：拮得猶如用利錐拮入格肋底
拮一拮拮得有郁身郁勢
女唱：拮得痕痕癢癢真犀利似錐仔
拮幾拮拮得西身西勢
男唱：西吓西吓
西幾西西甩呢一身蟻
女唱：郁吓郁吓
心急急急得擺手擺勢
男唱：蟻咬暗暗抵咯
詐詐諦諦
女唱：喂 猛跳震跌啲蟻
詐詐諦諦
女白：哈 邊個咁抵死
放的蟻落我地個身上面呢吓
男白：揼大力的躉甩佢啦
女白：死喇 揼到鞋踭都甩左囉
男白：除左佢喇傻鬼
女白：係噃 哎吔 哇撞鬼你咩
踩親我隻腳趾添
男白：唉對唔住 我除埋鞋陪你
女白：喂 不如唔好跳咯
男白：唔得架 跳舞比賽呀嘛
不能夠中途退出口嘅
女白：你睇吓
跳到我週身都濕哂咯
成額頭都係汗 唉
男白：我唔止出汗添
而咦 罩忌咯
男白：哎吔 弊啦
男唱：皆因搖頭揼地衫抆爛
褲都甩
架丟清今晚認真倒米
唉唷唉唷
西不甩點西都一身蟻
女唱：唉唷唉唷
西不甩點西都一身蟻
合唱：當作跳舞姿勢詐詐諦諦
我當跳舞新法夠曬架勢
個個讚我好野你咪當曳噃
失禮 失禮
