Basic introduction
Ethnic folk dance is a multi-layered concept and scalable interface that can accommodate various degrees of processing. Folk dance is the signifier of a nation, the soul of a country or even a people. It requires a high degree of re-creation by artists, coming from the folk and finally returning to the folk. The benefits of practicing folk dance are as follows: 1. having a strong sense of fun 2. cultivating the temperament of dancers 3. making people feel happy 4. benefiting the body and mind
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Classification
Folk dance, which is collectively created by the working people in the course of long-term history, accumulates, develops and is formed. and a form of dance widely circulated among the masses. Folk dance has the closest connection with the people's life, and it directly reflects the life and struggle of the working
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people and expresses their thoughts, feelings, ideals and aspirations. Due to the differences in the way of life and labor, historical and cultural mentality, customs and habits of the people of various ethnic groups and regions, as well as the differences in the natural environment, thus forming different national styles and regional characteristics. Each country in the world, each ethnic group have their own different styles and characteristics of folk dance. In the European ballet folk dance, generally known as representative dance or character dance, it is through the professional processing of dance, so that it is harmonized with the style of ballet, unified together.
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Artistic characteristics
Song and dance, free and lively. One of the main features of Chinese folk dance is the close combination of dance and singing. This form of singing and dancing is free, vivid and lively, which can show more life contents than pure dance, and it is easy to understand, so it is very popular among the Chinese people. The skillful use of props and the combination of skills. Many Chinese folk dances use props skillfully, such as fans, handkerchiefs, long silk, tambourines, single drums, flower sticks, lanterns, umbrellas and so on, which greatly strengthens the dance's
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artistic expression, making the dance movement more rich and beautiful, colorful.
The plot is vivid and the image is clear. Chinese folk dance is very important to the content, most of them have certain stories and legends as the basis, therefore, the characters are distinctive and outstanding character. Although some dances only show a certain kind of emotion, but it is also mostly as a complete storyline of the fragment and appeared. For example, Guangdong's "Ying Song" is a performance of the story of Liang Shanbo heroes and heroines attacking Da Mingfu; Fujian's "Big Drums and Cool Umbrellas" legend is a performance of Zheng Chenggong's activities of practicing against foreign invaders.
Self-entertainment, unity of purpose. Many Chinese folk dances are often the unity of self-entertainment and performance. Some dance activities, for the dancers, he is self-entertainment, but also to perform to the audience, so the dancers pay close attention to their own dance skills, so the Chinese folk dance has been a high degree of development.
The feeling of improvisation. Folk dances from all regions of China have been passed down in a certain format and norms, but there is also a tradition of improvisation, especially in the case of some folk dancers. In their most emotionally charged moments, it is often the time when a dance can emerge that shimmers with a unique luster.
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Development
At the beginning of the 1950s, under the government's strong encouragement and serious implementation, a large-scale "rescue heritage" work was carried out. Embodied in the field of dance, on the one hand, the effective investigation, collection and organization of folk dances of various ethnic groups, through the processing - re-creation, and its essence on the stage; on the other hand, the inheritance of opera dance, development, so that it was born as an independent dance art.
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Dance naturally transmitted by the various ethnic groups - especially the more technical, in the process of transmission of its basic style is often concentrated in a number of representative artists, most of whom are peasants, known as folk dancers, but for a long time in a low status, and even lived a hungry, dislocated life. They were mostly peasants, but had long been in a low position, even living a life of hunger and displacement. Therefore, the "rescue heritage" is also the rescue of folk artists with great skills, they themselves and their art have been respected as never before - unprecedented access to the hall of elegance.
This work is not a temporary expedient, but a long-term basic policy, which can also be said to be the continuation and development of the "Yan'an New Rice-planting Song Movement". A new generation of dancers consciously along the guiding ideology of the speech, in-depth life, to the masses to learn, seriously for those who seem to be "rough" but "the most vivid" folk dance to learn, collect, organize, in the spirit of "Remove the dross" - eliminating the unhealthy elements left behind by feudal society, and "take the essence" - selecting the aesthetic qualities of the people. The people's aesthetic qualities are refined, processed and recreated.
In the decade after the founding of the People's Republic of China, under the guidance of "let a hundred flowers blossom" and "push out the old and bring in the new" advocated by Mao Zedong, a number of excellent dances have emerged with strong national and regional characteristics, overflowing with the flavor of the times, reflecting the people's spiritual outlook. Excellent dances have emerged. They are not only popular among the general public, but have also attracted the attention of the world dance world in international cultural exchanges. As mentioned before: Dai Ailian's "Lotus Dance", "Flying Sky"; Jia Zuoguang's "Ordos Dance" ...... and so on are the masterpieces leading the trend of the times in this period, and there are a lot of works like this. Such as: "Red Silk Dance" (group dance) premiered in 1949, choreographer: Jin Ming (1927 -), etc., choreography: Cheng Yun, premiered by: Changchun Literary Troupe Zheng Jianji, Wang Yabin, Liu Hairu. A group of young men and women, holding up "torches", danced a joyful rice-planting song,
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The "torches" turned into long red silks - like fiery dragons flying, and the athletic dances and variations of the dancers' movements were all in harmony. The dance is based on the folk rice-planting song and the traditional skill - "Baizhanfan", and the meaningful form of "burning torches" is chosen to give vent to the people's voice of liberation***. In 1950, the dance was performed in Beijing for the first time and became a sensation in the capital. The following year, selected to participate in the xxth "World Youth Festival" won the gold medal. For half a century, it has been performed all over China and the five continents of the world, and people coincidentally say that it is: "the symbol of China's fire".
Other Han dances, such as: "Flower Encouragement", "Harvest Song", etc., can be called a masterpiece. The Flower Drum (group dance), premiered in 1956, choreographed by Zhang Yi (1934-), composer anecdotally; premiered by the Dalian Song and Dance Troupe, led by Zhang Yi. "Flower Drums" have been passed down in Shandong Province for many years as a form of entertainment for poor peasants who wandered and begged for money. The drumsticks are attached to a half-meter long spike, and the dancers use the tops of the drumsticks and the spike to beat the drums alternately, creating a unique technique. Zhang Yi gave the "Flower Encouragement Dance" the optimistic spirit of the times and lengthened the drum spikes to highlight its skills. In the exciting and changing rhythms, the human body's fitness and the rich lines of the colorful drum spikes are intertwined to form the unique charm of the dance. The dance was awarded the gold medal at the 1957 World Youth Festival.
In this strong time
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In the trend of the era, the flowers of minority dances are beautiful and red, opening everywhere. The Peacock Dance (Women's Group Dance) is another of Jin Ming's masterpieces, premiered in 1956. Composed by Luo Zhongrong; premiered by the Central Song and Dance Troupe led by Zi Huajun and Cui Meishan. On a high hill, a peacock with open screen rushes down the hill with beautiful wings, and a pair of wings turns into a peacock girl, stepping on the sound of drums and gongs, and singing a beautiful melody. And with the beautiful melody, surrounded by the "king of birds" dancing - drinking, photography, bathing, flying ...... Peacock is the Dai people living in the southwest border of the ancient totem worship - religious art remains, and the peacock is a symbol of the Dai people. --Religious art remains, has been regarded as a symbol of good luck and happiness. The traditional "Peacock Dance" handed down in folklore is performed only by men, and the dancers carry heavy props symbolizing their wings, which restricts the freedom and stretch of their bodies. The choreographers broke with tradition and tried to show the beauty of the peacock as a woman, and also revolutionized the costumes by removing the heavy props and replacing them with long, wide-swinged skirts covered with peacock feathers.... ...This dance debuted in 1956 in the National Dance Festival, with its novelty and beauty, favored by the audience, and the following year in the "World Youth Festival" won the Gold Medal.
There are many stage masterpieces created on the basis of collecting and organizing traditional folk dances. The government regularly organizes cultural performances for the exchange of experience and the prosperity of creativity. People of all ethnic groups who have suffered a lot are proud to show their dances on the stage.
Due to historical reasons, some regions or ethnic groups, the life of the natural reproduction of the dance on the verge of extinction. In the face of the new era, they are also eager to dance to express their hearts and establish the image of their own ethnicity. They even proposed to professional dancers, "Design a dance for us!" It was in the midst of this "call" that the "Happy Longing" and the "Grass Hat Dance" were born.
The folk dances mentioned above represent a number of "mood dances" of this period - short
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are concise, without complicated plots, and use the techniques of comparing and expressing things and emotions. Whether they are processed and created on the basis of traditional folk dances or elaborately designed by professional dancers, they all emphasize the national style - striving to reflect the aesthetic qualities of different ethnic groups.
The richness and colorfulness of life has created a diversity of dance themes, genres, styles, and patterns, and during this period, there were many works that reflected life more directly by refining the dance vocabulary from life without emphasizing specific styles. For example, among the military-themed dance works, the duo dance "Hard Times" left an extraordinarily deep impression on people. This work was premiered in 1961, choreographed by Zhou Sheng (1934-1988) and Peng Erli (1936-); composed by Yank and Zhou Fang; and premiered by the Guangzhou Military District Warrior Song and Dance Troupe, Zhu Guolin and Liao Junxiang. The choreographer was inspired by the sculpture of the same name, or rather, the dance is a "dynamic" presentation of the sculpture: an old warrior and a young warrior on the Long March, faced with the enemy's siege, trekking in the midst of hunger and cold. The young warrior fainted a few times, the old warrior played the bamboo flute, the exciting, beautiful music aroused the warrior's yearning for the future, they encouraged each other, helped each other, and moved forward indefatigably towards the set goal. With its unique creativity, condensed structure, touching details, and distinctive dance images, Hard Times presents the romantic feelings in battle. It focuses not on explaining events, but on showing the sublimation of characters' feelings.
The classical dance that refines the vocabulary from the opera - "Moonlit Night of Spring River Flowers" is quite representative. The women's solo dance "Night of the Spring River Flowers and Moon" was first performed in 1959, choreographed by Li Chenglian (1932--1993); premiered by Chen Ailian of the Beijing Dance School. The dance uses the ancient song of the same name as the dance music, with the help of the Tang Dynasty poet Zhang Ruoxu's poem of the same name: "The river and the sky are colorless, and the moon is alone in the sky ......", and appropriately draws on some of the formulae and beautiful figures in opera dance to create a graceful and soft dance posture, delicate and subtle. The dance posture, delicate and implicit rhyme, expresses the moonlit night of the girl's longing for happiness.
All of the above are representative dances of the mid-50s and 60s, which have withstood a long period of social selection and have been handed down to the present day. The choreographers and leading performers of these works are the leaders of the first generation of dancers in New China, who, while receiving strict professional training, paid special attention to learning from life, learning from the masses, and consciously pursuing the mingling of artistic individuality with the national style and the spirit of the times.
After the 10-year catastrophe of "Culture*" (1966-1976), the devastated art of dance was revitalized and entered a new period in the process of China's reform and opening up. In this historic social change, people's way of thinking, value
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concept, psychological state, aesthetic consciousness have undergone obvious changes. Reflected in the trend of literature and art, it is more focused on the reflection on traditional culture and traditional concepts, and exploring its value assessment in the process of China's modernization. The open debate of different viewpoints in various fields reflects the unprecedented activity of cultural thought and the further promotion of the policy of "let a hundred flowers blossom and a hundred schools of thought contend" under Deng Xiaoping's call for "seeking truth from facts and emancipating the mind". This progress is profound, comprehensive, the new era of dance creation has also had an important role and influence.
The dance before "*" has basically formed a relatively stable general pattern - the imprint of the times. Due to the ideological concepts of the time, creators seemed to be afraid that their works were too "far" from the prototypes of life or the original form of folk dance, and were generally cautious and inclined to convergence in the selection of themes and genres as well as in the processing of dance movements. Therefore, in the creation of brilliant, there is also a certain tendency of similarity and pattern.
The majority of dancers after the recovery of the arts and culture, eager to try, despite the values, aesthetic awareness of the mutual existence of various differences, but without exception reflects a strong sense of innovation - the desire to the past habitual methods and inherent patterns - even if the "successful experience". Even if it is a "successful experience", it reflects a strong sense of innovation - a desire to break through the usual methods and inherent patterns of the past. In retrospect, reflection, after confusion, exploration and even the pain of gestation, a number of new and remarkable works have emerged.
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Representatives
Growing up in the 50's choreographer, another success, which Huang Shao-Shu (female, 1938 -), Fong Jin-Ji (1931 -) and his wife's cooperation of the "brook, River, Sea" by Mr. and Mrs. Huang Shao-Shu (female, 1938-) and Fang Jin-Qi (1931-) was even more groundbreaking. This women's group dance, premiered in 1986, was composed by Jiao Shuang and premiered by Zhang Xiaoqing and Li Yin Yin of the Dance Department of the People's Liberation Army Academy of Arts. A group of water-colored dresses, clad in transparent tulle girls, like drops of crystal "water droplets", with a fine, smooth dance step winding continuous movement, the dance is transformed into a river waves, fine undulating waves. Maiden waving skirt, yarn, with a large number of rushing jumps, the image shows the unceasing flow of the vast river rolling forward ...... dance to create a mountain stream streams gathered into a river, converging into the sea of the spectacular scene, revealing the unchanging laws of mankind for all eternity.
Like this embodies a strong sense of life dance, the new generation of choreographers and directors also masterpieces. For example: Rushing (men's group dance), premiered in 1986, choreographer: Ma Yue (Hui, 1945-) composer: Ji Cheng, Xiaoluotou, etc., premiered by: Dance Department of the Central Institute for Nationalities, led by Jiang Tiehong. The dance is set off by the interplay of lead and group dances, showing the majestic momentum of a horse in the lead and ten thousand horses galloping. Among them, the "people" of the "horse" and the "horse" of the "galloping" are intertwined, bursting out the infinite vitality of life. The dance is an important breakthrough in the creation of Mongolian dance. It is not satisfied with the general sense of the national style show, but through the embodiment of the Mongolian people can not be separated from the horse's "soul" fight, revealing this nation's sense of life.
The Yellow River Cantata is the monumental work of the great patriotic composer Xian Xinghai, and this work, along with the eponymous Yellow River Piano Concerto based on it, has been recognized as a "classic of 20th-century Chinese music". It is a challenging new attempt for the choreographer to choose a classic piece of music for choreography. Su Shijin (19--) and Yuchi Jianming (1935--) took the lead in this goal with their group dance "Spirit of the Yellow River" (premiered by the Frontline Song and Dance Troupe of the Political Department of the Nanjing Military Region), which was created by them in 1980. The successful practice of their successful practice of dance creation themes, methods of expression have pioneering significance.
In 1990, the premiere of Yellow Earth Yellow (Group Dance) had a stirring impact. Choreographer: Zhang Jizang (19--); Composer: Wang Zhenning; Premiere: Beijing Dance Academy, led by Yu Xiaoxue. A group of naked men carrying drums and a group of aunties wearing slanted lapel hangers and narrow-legged pants remind one of the folks who have been guarding this yellow land for generations - they seem to have just risen from the "bumpy earth
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garbage". They seem to have just risen from the "rubbish". But when the men and women take turns dancing, beating the drums on their backs to the sound of the sky, stomping their feet, kicking their legs, and practically stomping the earth out of its pits,......, you get the feeling that they've already taken a big step into the modern world. To "earth" can no longer "earth" form, very "modern" to vent their own accumulated feelings for a long time. The love for the yellow earth under the feet, the longing for the world beyond the mountains, the hope for the future ...... bursts out through the endless, repeated drumming. The amplitude of the movement, the strength of the supernormalization and the repetition of the same action, for the previous dance is rare, into the "crazy" state of the drummer to the earth shaking .......
The above works, although there are obvious differences in style, but all chose the magnificent group dance to express a strong sense of life. This seems to be a call of the times, and the following two solo dances, The Spirit of the Sparrow and The Remnant of Spring, also belong to the elaboration of the same theme.
During this period, the exploration of Chinese classical dance also made great progress. For example: "Jinshan War Drums" (women's 3 dancers), premiered in 1980, choreographer Pang Zhiyang (1931-), Men Wenyuan (1934-), etc., Composer: Tian Dezhong, premiered by: Advance Song and Dance Troupe of the Political Department of the Shenyang Military Region, Wang Xia, Liu Qian, Wang Yan. The work is based on the exploits of Liang Hongyu, a heroine of the Southern Song Dynasty in China more than 900 years ago. At the moment of crisis when she was outnumbered, Liang Hongyu herself beat the drum to help the battle, and after she was hit by an arrow, she persisted in the battle until the final victory with a fearless spirit, enduring the pain and wounds. With flexible and smooth stage dispatch, exquisite and skillful technique, and concise and touching plot, the dance vividly shows the scene of Liang Hongyu leading the female soldiers and assisting in the battle. It gives full play to the virtual expression of the Chinese opera but is not bound to the program of the opera, although only three people on the stage, but it seems to be like an army of thousands of horses, wearing bright red long cape Liang Hongyu, moving like the wind, standing like a pine of the heroic spirit of the audience has left a deep impression.
Farewell to the Newlyweds (Dance for Two) premiered in 1984, choreographed by Chen Zemi (194 ---) and Qiu Youren (194 ---); composed by Zhang Xiaofeng and Zhu Xiaogu, and premiered by Shen Peiyi and Li Hengda of the Beijing Dance Academy. It is based on the poem of the same name by the Chinese poet Du Fu of the Tang Dynasty, which also expresses the theme of loyalty to the country, but in a different way. In the new room lit by red candles, the newlywed wife waits shyly and anxiously for her husband's return, envisioning a beautiful life after marriage. But the ruthless reality is that her husband is about to go on a military expedition, so-called "newlywed that is to say goodbye in a hurry, for the country's sacrifice to break the heart of ......". The rooster crows and the horn interrupts the lovey-dovey duo dance - the moment of parting has finally arrived. In the end, the wife resolutely hands her husband a long knife and sends him off to war. The dance is characterized by the unique mood of Chinese classical dance - especially the use of water sleeves - and the character is better portrayed with a refined technique.
The selection of recent works seems to be more deliberate, but there is reason to be sure that the new period of dance has experienced a resurgence and gained full development. Not only has the number of works risen significantly, but also in terms of subject matter, genre, style, style and choreographic techniques ...... have become more varied. Through the strong presentation of the subject's consciousness, overflowing with the mood and breath of the open era.